Editorial

TY - JOUR

T1 - Editorial

AU - Fagge, Roger

AU - Gebhardt, Nicholas

N1 - Funding Information: 1. This special issue was made possible by the Arts and Humanities Research Council grant number AH/N009428/1. Funding Information: This special double issue emerged from a two-year project on jazz and everyday aesthetics, which was funded by the Arts and Humanities Research Council in the United Kingdom.1 Through a series of seminars, musical performances, and workshops, the project examined different claims about jazz’s aesthetic value in the context of everyday practices of living. Using oral histories, personal recollection, experimental writing, sound recordings, and film, we set out to explore how specific kinds of words, gestures, texts, sounds and objects came to define the artistic possibilities of the music. The articles that follow in this issue continue that exploration from a range of perspectives. Roger Fagge introduces some of the key challenges involved in conceptualizing the everyday in the work of major writers and artists. Ellen O’Donoghue Oddy expands our understanding of these challenges through a study of Jean Michel-Basquiat’s paintings, reading them as texts that rewrite the everyday, protest against social barriers, and reveal beauty in the mundane. Mike Fletcher offers a theory of the everyday in jazz performance from the perspective of a practice researcher, while Bob Lawson Peebles considers the role played by images of Russia and Russian culture in realizing the earliest appearances of jazz in the everyday British imaginary. Highlighting the work of trumpeter Christian aTunde Adjuah, James Gordon Williams considers how the practice of jazz as an everyday aesthetic resonates with the musical articulation and commemoration of daily survival strategies by the socially marginalized. Kimberly Hannon Teal demonstrates how in his multimedia performance STAGED, Jason Moran problematizes the notion of jazz as pure, unmediated individual expression, and Lawrence Davies discusses how British ideas about jazz were shaped by the proliferation of Rhythm Clubs across the UK. We then move to the other side of the world, with Aleisha Ward’s study of the experiences of New Zealand jazz fans and musicians ‘listening

PY - 2019

Y1 - 2019

UR - http://www.scopus.com/inward/record.url?scp=85081665623&partnerID=8YFLogxK

UR - http://www.scopus.com/inward/citedby.url?scp=85081665623&partnerID=8YFLogxK

U2 - 10.1558/jazz.40244

DO - 10.1558/jazz.40244

M3 - Editorial

AN - SCOPUS:85081665623

SN - 1753-8637

VL - 13

SP - 5

EP - 6

JO - Jazz Research Journal

JF - Jazz Research Journal

IS - 1-2

ER -