Circular Breathing: The Cultural Politics of Jazz in Britain
Circular Breathing: The Cultural Politics of Jazz in Britain
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循环呼吸：英国爵士乐的文化政治
DOI：
10.1215/9780822387282
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发表时间：
2005
期刊：
影响因子：
--
通讯作者：
G. McKay
中科院分区：
文献类型：
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作者：
G. McKay
在《循环呼吸》一书中，英国反主流文化的主要编年史家乔治麦凯揭示了爵士乐在英国快速转型时期伴随社会变革的往往令人惊讶的方式。从1943年乔治韦伯的迪克西兰德人的成立到20世纪50年代初蓬勃发展的英国比波普现场，1956-61年的Beaulieu爵士乐Festival，以及20世纪60年代和70年代的即兴音乐制作，麦凯考察了爵士乐，它的演奏者，以及它的亚文化与黑人和反种族主义激进主义，核裁军运动的联系，女权主义和新左派在这个过程中，他提供了第一个详细的爵士乐在英国的文化史。
麦凯探讨了与白人，黑人和男性问题有关的音乐-所有这些都是在帝国身份转变，后殖民主义和冷战的背景下进行的。他认为反对音乐的传播由“反爵士乐”，以及矛盾的感觉，许多左派音乐家对发挥“所有美国”的音乐形式。与此同时，麦凯强调了自20世纪50年代以来定义英国爵士乐的非凡文化融合，因为来自英国前殖民地的音乐家-特别是来自加勒比海和南非的音乐家-已经改变了这一流派。循环呼吸是丰富的麦凯的原始采访活动家，音乐家和球迷和迷人的图像，包括著名的英国爵士乐摄影师瓦尔威尔默的作品。这不仅是对爵士乐历史的宝贵审视，也是对英国左翼和种族关系的宝贵审视。
In Circular Breathing, George McKay, a leading chronicler of British countercultures, uncovers the often surprising ways that jazz has accompanied social change during a period of rapid transformation in Great Britain. Examining jazz from the founding of George Webb’s Dixielanders in 1943 through the burgeoning British bebop scene of the early 1950s, the Beaulieu Jazz Festivals of 1956–61, and the improvisational music making of the 1960s and 1970s, McKay reveals the connections of the music, its players, and its subcultures to black and antiracist activism, the Campaign for Nuclear Disarmament, feminism, and the New Left. In the process, he provides the first detailed cultural history of jazz in Britain.
McKay explores the music in relation to issues of whiteness, blackness, and masculinity—all against a backdrop of shifting imperial identities, postcolonialism, and the Cold War. He considers objections to the music’s spread by the “anti-jazzers” alongside the ambivalence felt by many leftist musicians about playing an “all-American” musical form. At the same time, McKay highlights the extraordinary cultural mixing that has defined British jazz since the 1950s, as musicians from Britain’s former colonies—particularly from the Caribbean and South Africa—have transformed the genre. Circular Breathing is enriched by McKay’s original interviews with activists, musicians, and fans and by fascinating images, including works by the renowned English jazz photographer Val Wilmer. It is an invaluable look at not only the history of jazz but also the Left and race relations in Great Britain.