~~1cflj ~/1-/3 ~ 2001-~ 2002 Edited by MARK BURFORD RECOLLECTIONS TRAVIS A. JACKSON 9 Mark Tucker (1954-2000) ARTICLES HISTORICAL STUDIES MARK TUCKER 13 Porgy and Miles JEFFREY MAGEE 22 "King Porter Stomp" and the Jazz Tradition DAN SKEA 54 Rudy Van Gelder in Hackensack: Defining the Jazz Sound in the 1950s JEFFREY TAYLOR 77 Earl Hines and "Rosetta" JAZZ MUSICIANS AND THEIR CONTEXTS GEORGE E. LEWIS 100 Experimental Music in Black and White: The AACM in New York, 1970-1985 JEFFERY S. McMILLAN 158 A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s T. M. SCRUGGS 179 "Come on in North Side, you're just in time": Musical-Verbal Performance and the Negotiation of Ethnically Segregated Social Space DAVID CHEVAN 200 Musical Literacy and Jazz Musicians in the 1910s and 1920s JAZZ ANALYSIS BEN GIVAN 232 Discontinuity in the Music of Django Reinhardt KEITH WATERS 276 WILLIAM R. BAUER 303 MATTHEWW. 324 BUTTERFIELD SCOTT DEVEAUX 353 SHERRIE TUCKER 375 CHRISTOPHER 409 WASHBURNE PAUL ALLEN ANDERSON 427 EVAN SPRING 446 Outside Forces: "Autumn Leaves" in the 1960s Scat Singing: A Timbral and Phonemic Analysis Music Analysis and the Social Life of Jazz Recordings VIEWPOINTS: PERSPECTIVES ON JAZZ STUDIES Struggling with Jazz Big Ears: Listening for Gender inJazz Studies LatinJazz: The Other Jazz REVIEW-ESSAYS Other Planes of There: Critical Notice of Graham Lock's Blutopia. A review of Blutopia: Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington, and Anthony Braxton, by Graham Lock. Fan Fare: An Investigation of Recent Jazz Biographies. A review of Bright Moments: The Life and Legacy of Rahsaan Roland Kirk, by John Kruth; Myself When I A m Real: The Life and Music of Charles Mingus, by Gene Santoro; Open Sky: Sonny Rollins and His World of Improvisation, .by Eric Nisenson; Clifford Brown: The Life and Art of the LegendaryJazz Trumpeter, by Nick Catalano; Morning Glory: A Biography of Mary Lou Williams, by Linda Dahll; and An Unsung Cat: The Life and Music of Warne Marsh, by Safford Chamberlain. VIJAY IYER 462 Being Home: Jazz Authority and the Politics of Place. A review of Songs of the Unsung: The Musical and Social Journey of Horace Tapscott, by Horace Tapscott (edited by Steven Isoardi); and The Oxford Companion to Jazz, edited by Bill Kirchner. REVIEWS MIN GABBARD 477 Eric Porter. What Is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists KATHY J. OGREN 484 Phil Pastras. Dead Man Blues: Jelly Roll Morton Way Out West FRANK TIRRO 491 AIyn Shipton. A New History of Jazz BRIAN PRIESTLEY 500 Rob van der Bliek, ed. The Thelonious Monk Reader DAVID SAGER 509 Richard M. Sudhalter. Lost Chords: White Musicians and Their Contribution toJazz, 1915-1945 JAZZ RECEPTION AND MEANINGS ABROAD JEFFREY H. JACKSON 518 Uta G. Poiger. Jazz, Rock, and Rebels: Cold War Politics and American Culture in a Divided Germany DALE WILSON 524 Andrew F.Jones. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age IAN CONDRY 533 E. Taylor Atkins. Blue Nippon: AuthenticatingJazz in Japan Corresponding Editors AUSTRALIA Mary Chan Graham Hardie Margaret]. Kartomi Andrew D. McCredie AUSTRIA University of New South Wales, Kensington University of Sydney Monash University, Clayton Monash University, Melbourne / University of Queensland, Brisbane Eva Badura-Skoda Editor-at-Large, Vienna BELGIUM Anne-Marie Riessauw Philippe Vendrix CROATIA State University of Ghent Universite de Liege Stanislav Tuksar University of Zagreb ENGLAND Stephen D. Banfield George C. BiddlecombeJr. Judith H. Blezzard John Caldwell Tim Carter David Charlton Geoffrey A. Chew Nicholas Cook Barry A. R. Cooper Jonathan M. Dunsby Mark Everist Anthony Ford Frederick Hudson Andrew Jones Christopher Kent Nicholas Marston Thomas Messenger Susan K. Rankin Nicholas Sandon Benedict Sarnaker FRANCE Olivier Delaigue Nasreen Hussein University of Birmingham Royal Academy of Music, London University of Liverpool University of Oxford Royal Holloway and Bedford New College, Egham Royal Holloway and Bedford New College, Egham Royal Holloway and Bedford New College, Egham University of Southampton University of Manchester Editor-at-Large, Reading University of Southampton University of Hull University of Newcastle upon Tyne Cambridge University University of Reading University of Oxford University of Surrey, Guildford Cambridge University University of Exeter Goldsmiths' College, London National Conservatory Universite de Paris-Sorbonne GERMANY Jeffery Bossin Albrecht Schneider Herbert Schneider Hubert Unverricht GHANA Technical University, Berlin University of Hamburg University of Heidelberg Katholische Universitat, Eichstatt J. H. Kwabena Nketia International Centre for African Music and Dance HONG KONG Greta Olson Chinese University of Hong Kong ITALY Fabrizio Della Seta Conservatorio "A. Casella," L'Aquila, Rome Gabriel M. Steinschulte Pontificio Istituto de Musica Sacra, Rome NEW ZEALAND Gerald R. Seaman University of Auckland NORTHERN IRELAND Piers Hellawell Queen's University of Belfast PORTUGAL Manuel Carlos de Brito Universidade Nova de Lisboa Salwa El-Shawan Castelo-Branco Universidade Nova de Lisboa REPUBLIC OF IRELAND Harry White University College Dublin RUSSIA Lev Gins burg Galina V. Grigorieva Rimma Kosacheva Nelli G. Shakhnazarova SCOTLAND Christopher D. S. Field Raymond Monelle SOUTH AFRICA Muzykal'naia Zhizn; Moscow Moscow Tchaikovsky Conservatory Government Institute of Theatrical Arts, Moscow Scientific Research Institute of the Arts, Moscow University of Edinburgh University of Edinburgh Winfried Ludemann University of Stellenbosch SWITZERLAND Max Luetolf University of Zurich WALES David R. A. Evans David WynJones University College of North Wales, Bangor University College, Cardiff / Open University, Cardiff Editor's Preface The increased presence of jazz studies at universities and cultural insti­ tutions in the United States and abroad has brought with it a recognition of how diffuse the community of those who research and write about jazz has become. Whether this "family" of jazz scholars-both in and outside of academia-is a dysfunctional one, as Ken Burns would have us believe, or simply one that exhibits the sometimes perplexing yet more often insightful idiosyncrasy of a Thelonious Monk solo is a matter of conjecture. Un­ deniable, however, is the fact that at the present moment the methodolog­ ical scope of jazz scholarship has expanded to an unprecedented degree. In many ways, seeds for the growth of jazz studies at Columbia University were sown during Mark Tucker's professorship in Columbia's Music Department (1987-97). Professor Tucker, whose rigorous, sensitive, and eminently musical scholarship on jazz and other American musics set a standard for the field and inspired jazz researchers worldwide, died on December 6, 2000. It is to his memory that this special issue of Current Musicology is dedicated. This issue is decidedly interdisciplinary insofar as it includes contribu­ tions from scholars working across a spectrum of academic fields, as well as work by those who approach jazz as journalists or as independent re­ searchers. The choice to identify the topic of this issue as 'Jazz studies," rather than simply 'Jazz," was a deliberate one. Scholarship on the music, its practitioners, and the contexts in which jazz is produced and engaged is no less rich or compelling than the discourse on jazz discourse and the questions the music continues to provoke. The unique historiographic challenges of a music that is barely a century old-or younger, if viewed from the perspective of jazz recordings-and the latent "consequences" of constructing its canon, as Krin Gabbard has put it, have prompted many to interrogate the narrative strategies employed in rendering the music's past. Most of the articles and reviews featured in this issue have in some way or another taken on this challenge by reconsidering under docu­ mented, if familiar, figures-for example, Von Freeman, Rudy Van Gelder, and Lee Morgan-by rethinking configurations of and approaches to the field of jazz studies, and by reminding us of the still emergent, living quali­ ties of jazz so often obscured, ironically, by jazz studies itself. The study of jazz remains wide-open, in large part because of the far­ reaching influence of jazz itself, both as a musical and cultural phenome­ non. This issue of Current Musicology seeks to demonstrate some of the range and diversity of those who have made jazz and its attendant dis­ course their object of contemplation and study, while honoring one of jazz's most respected scholars. -MJB