- A critical discussion of the New Orleans jazz revival movement in the US and in Australia (ie not just some awful ‘jazz journalism’ style ‘history’, but an actual engagement with the politics and ideology of these projects
- A critical engagement with the Folkways and Lomax projects (particularly stuff on the New Deal projects)
- A critical history of jazz associations in Australia (again, not just another fansquee written in that awful ‘jazz journalism’ style).
I also want to look at how Black Power Mixtape (which is a collection of footage taken by Swedish filmmakers in the 1960s, edited together and with a commentary by modern black activist folk and accompanied by a modern sound track) is related to all that Music Inn/Stearns’ Jazz Dance work with Al and Leon.
…part of my brain is also thinking about the French reception to and feelings about Australian Aboriginal art and the Utopia community.
This piece Reflections on Anthologized Recordings: The Alan Lomax Collection on Rounder Records and the John A. and Ruby Lomax 1939 Southern States Recording Trip on the Library of Congress American Memory Website (vol 4, issue 2, 2002 of Echo) by Anthony Seeger is an interesting start. I was especially caught by the discussion of the future of anthologies in a digital environment.
The name Seeger catches my eye for a number of reasons, but most recently for its association with the Preservation Hall Jazz Band:
I need to follow up this panel discussion on ‘Teaching Controversial Topics in American History‘ in Echo (6.2)
I’ve just seen This review of John Szwed’s book Alan Lomax: The Man Who Recorded the World which may be useful. Szwed is pretty good stuff, but I’ll have to read the book to see.
On the history of jazz associations, did you see the recent thing on the Overland blog about jazz and the Communist youth league in Melbourne?
Nuh. *scampers to Overland blog*
Super groovy, Rob! I was going to mention the Jazz Convention (it’s hosted by the longest running jazz association in the world), and the Sonny Clay stuff (though, interestingly, word on the street is that the banning of black musicians in the 20s was the result of musicians union pressure).
Link to the Overland article: A Short History of Communist Jazz, Jeff Sparrow, 20 June 2012