Remixing European Jazz Culture (Transnational Studies in Jazz)

Remixing European Jazz Culture examines a jazz culture that emerged in the 1990s in cosmopolitan cities like Amsterdam, Rotterdam, Berlin, London, and Oslo – energised by the introduction of studio technologies into the live performance space, which has since developed into internationally recognised, eclectic, hybrid jazz styles. This book explores these oft-overlooked musicians and their forms that have nonetheless expanded the plane of jazz’s continued prosperity, popularity, and revitalisation in the twenty-first century – one where remix is no longer the sole domain of studio producers. Seeking to update the orthodoxies of the field of jazz studies, Remixing European Jazz Culture: incorporates electronic and digital performance, recording, and distribution practices that have transformed the culture since the 1980s; provides a more diverse and multifaceted cultural representation of European jazz and the contributions of a variety of performers; and offers an encompassing picture of the depth of jazz practice that has erupted through Northern Europe since 1989. With an expansion of international networks and a disintegration of artistic boundaries, the collaborative, performative, and real-time improvisational process of remixing has stimulated a merging of the music’s past and present within European jazz culture. Cover 1 Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Dedication 6 Table of Contents 8 List of Figures 10 Series Foreword 12 Acknowledgements 13 Introduction: Remixing European Jazz Culture – Historical Precedents, Methodological Approaches, and Theoretical Interventions 16 Setting the Stage – Punkt 2018 – Kristiansand, Norway 16 Theorising Remix within Music Cultures 20 Remix and European Jazz Culture 24 Part I 25 European Jazz Star Circuits, Transnational Routes, and Institutional Networks 25 Part II 32 Remixing European Jazz Culture in Seven Chapters 32 Notes 34 Chapter 1: Jazz in Post-War Europe: From Free Collectives to Electronic Jazz 36 Europe’s Free and Collectivising Jazz of the 1970s and 1980s 37 European Jazz in the Digital Era 40 Independent Electronic Crossover Jazz Labels 44 DJ as Gatekeeper/Taste- Maker/Curator 46 Electric Jazz Zines – Straight No Chaser 46 Jazz Festivals, Revivals, and the Participatory Bodies of European Jazz Culture 47 Chapter 2: Wicked Jazz Sounds and Blue Note Trips: Dance Tourists and Musical Migrants in Amsterdam’s Crossover Jazz Scene 50 Introduction 52 Scenes, Networks, and Circulations 55 Amsterdam’s ‘Cosmopolitan’ Jazz Scene 58 Amsterdam’s Jazz Club Night Series: Wicked Jazz Sounds and Blue Note Trips 61 The Melkweg 63 Blue Note Trip Club Nights at The Melkweg 64 The Sugar Factory 67 Conclusion 73 Notes 74 Chapter 3: DJs and PLOs in Berlin’s Electronic Jazz Scene: The Hybrid Production Aesthetics of Jazzanova 76 Technology, Sampling, and Authenticity 76 Listening with Jazzanova – Good Remix, Bad Remix 78 Nina Simone – The Remix ‘Stomp Treatment’ 78 ‘Stimela’ – Engaged Remixes 79 Building a Jazz Archive, Cultivating ‘Jazz Ears’: for Electronic Jazz Producers 82 Jazzanova’s Trajectory from Record-collecting Cafés to Producer-led Studios 85 Compiling the Remixes 90 Sampling Community and Love in ‘L.O.V.E. and You & I’ (In Between 2001) 90 Sampling a Recorded History in PLOs (Producer- led Outfits) 93 Archiving and Sampling as Musicking 95 Of All the Things (2008, Second Production- basedAlbum) 99 Acoustic Orchestra Samples Sample- based Jazz – The Sonar Kollectiv Orchester 100 Conclusion 101 Notes 102 Chapter 4: Oslo’s Jazzland Recordings: Finding Home in a New Conception of Jazz 104 Nordic Tone Affiliations 106 Oslo’s Urban Renewal and Cultural Transformation 109 Barcode Project, the National Opera House and the Nasjonal Jazzscene 110 Nasjonal Jazzscene 111 Grünerløkka – Home of Electronic Jazz 111 Blå 112 Bugge Wesseltoft and Jazzland Recordings 113 Jazzland’s Electronic Jazz 118 Remixing Electronic Jazz 119 ‘Eve Nin’, Sharing (1998) 120 ‘Eve Nin’ (Les Gammas Remix), Jazzland Remixed (2000) 121 Beady Belle 122 CEWBEAGAPPIC 125 On My Own (2016) 129 Conclusion 131 Notes 132 Chapter 5: Part One: The ‘revival of the revival’ or a swing dance continuum?: Mediascapes, Time Machines, and Intercultural Encounters at the Herräng Dance Camp 133 Introduction 135 The Herräng Dance Camp and the Swedish Lindy Hop Continuum 135 The Original European Black Atlantic Lindy Roots/Routes 137 The 1980s Swing Dance Revival in Sweden 141 Germany and the Subcultural Revival of Rock ‘n’ Roll Dancing 144 Part One 146 HDC as Time Machine: A ‘Brain Wash’ in Jazz Culture 146 Herräng’s Immersive Jazz Culture 147 Collectivising a Jazz Sociability at Herräng 149 Daily Camp Meetings 149 Camp Films 150 Music and Dance Acts at Daily Camp Meetings 151 Old- timers 152 Library Talks as Embodied Jazz Discourse 153 Notes 157 Chapter 5: Part Two: Jazz Records, Dance Media, and Survival Technologies within Herräng’s Professional Jazz Dance Network 159 Place- makingat Herräng 160 Dance Parties and Contemporary Swedish Jazz Spaces 161 Regenerating the Jazz Past on the Herräng Dance Floor 162 Social Dancing at Herräng in Folkets Hus 167 Dancing Gender on the Herräng Dance Floor 169 The Third Generation of Herräng’s Transnational Lindy Dancers 170 Bianca and Nils 170 Marie and Hasse 173 Competing and Dancing as Lifelong Careers 174 Intercultural Dancing and Cross-culturalExchange 176 The Harlem Hot Shots and the Stockholm Swing Dance Scene 180 Conclusion 183 Notes 185 Chapter 6: Part One: Configuring crisis and Sampling Swing in Vintage Festivals and Electro Swing 186 Introduction 187 Electro Swing and its Antecedents 190 Sonically Signifying Swing 193 Festivals as Immersive Spaces for Vintage Remix Jazz 194 Anjou Vélo Vintage – An Escape into the Jazz Past 195 Vintage Remix and Electro Swing at the Anjou Vélo Festival 198 Electric Swing Circus and the Swingamajig Festival 202 The Electro Swing Club Consortium 203 The Electric Swing Circus: Live Performance within Vintage Remix 205 Penniless Optimist (2011) 209 Empires (2016) 209 Conclusion 210 Notes 211 Chapter 6: Part Two: (Re)Generating the Jazz Past in the Vintage Remix of Caravan Palace and Caro Emerald 213 The French Wave of Electro Swing 214 Caravan Palace and Electro Swing 216 Liveness and Spontaneous Jazz Acts within Electro Swing 221 The Music Video as the ‘Calling Card’ of Vintage Remix 225 ‘Rock It for Me’ (2012) 226 ‘Dramophone’ (2012) 228 Caro Emerald – Reviving Europe’s Jazz Past within Convergence Culture 231 ‘The Ghost of You’ (2017) 237 Conclusion 239 Notes 240 Epilogue 242 Concluding Thoughts on Theorising Remix in European Jazz Culture 247 Notes 251 Bibliography 252 Interviews 263 Discography 264 Filmography 265 Index 268 "Remixing European Jazz Culture examines a European jazz culture that emerged during the mid-1990's in cosmopolitan cities like Amsterdam and Berlin. Since then, internationally recognized jazz styles have developed. This book examines three phenomena that supported the turn of European jazz in the 21st century: 1) the influence and integration of the aesthetics of popular music such as hip hop and EDM, 2) the role of electronic and digital technologies in performance, recording and distribution, and 3) the expanding international networks of contemporary jazz performance, promotion, and reception due to globalization, transnational tourism, and migration. This book reveals how the transformation of national cultural identities are tied to contemporary processes within jazz cultures, such as aesthetic flow, cultural migration, digital mediation and the increasing disintegration of artistic boundaries (high, low, acoustic, digital, classical and popular). In addition to illuminating the creative output of current groups, the book addresses why such forms of eclectic, mixed-mediated, hybrid jazz are frequently ignored by jazz scholars when this music greatly expanded the plane of jazz's continued prosperity, popularity and revitalization in the 21st century. Through case studies ranging from jazz performers to jazz media or performance contexts, the book examines the impact of particular locales for the emergence of jazz-centered networks in various cities, including Amsterdam, Rotterdam, Berlin, London and Oslo. It also uncovers the dominant role of New York as the jazz center, in guiding criteria for jazz prestige within contemporary local, national and international circuits. Finally, it examines how the entire project of remixing European jazz culture has stimulated a merging of jazz's past and present"-- Provided by publisher __Remixing European Jazz Culture__ examines a jazz culture that emerged in the 1990s in cosmopolitan cities like Amsterdam, Rotterdam, Berlin, London, and Oslo – energised by the introduction of studio technologies into the live performance space, which has since developed into internationally recognised, eclectic, hybrid jazz styles. This book explores these oft-overlooked musicians and their forms that have nonetheless expanded the plane of jazz’s continued prosperity, popularity, and revitalisation in the twenty-first century – one where remix is no longer the sole domain of studio producers. Seeking to update the orthodoxies of the field of jazz studies, __Remixing European Jazz Culture:__ * incorporates electronic and digital performance, recording, and distribution practices that have transformed the culture since the 1980s; * provides a more diverse and multifaceted cultural representation of European jazz and the contributions of a variety of performers; and * offers an encompassing picture of the depth of jazz practice that has erupted through Northern Europe since 1989. Remixing European Jazz Culture examines a jazz culture that emerged in the 1990s in cosmopolitan cities like Amsterdam, Rotterdam, Berlin, London, and Oslo-energized by the introduction of studio technologies into the live performance space, which has since developed into internationally-recognized, eclectic, hybrid jazz styles.