Jazz in France, 1934-75: contesting the politics of nation, art and world through music

这本书的项目追溯了法国的思想和爵士乐的做法，最初是从美国进口的，是根据标题的关键术语和三个部分标题中描述的不断变化的当地关切而形成的：1)国家。本节重点介绍二战前欧洲爵士乐的主要批评权威Hugues panassi<s:1>和他曾任主席的法国热俱乐部（hot club de France）。在第一章中，我探讨了20世纪30年代动荡不安的法国和欧洲政治，并追溯了帕纳西瓦伊的思想和宗教形成，以展示民族主义、反现代主义的法国天主教思想的趋势如何影响了评论家对爵士乐作为原始民间表达的高度影响的概念。在第二章中，我研究了如何为Hot-club成员创建爵士录音的教学经典，并以文字和个人的方式展示录制的音乐应该如何感受，panassi<e:1>旨在通过留声机以“groove”和体现黑人音乐文化的方式教育“异化”的现代法国人。panassi<s:1>对爵士乐的见解，虽然是对种族例外论的痴迷的产物，但在音乐上往往是有价值的；在这里，我也要问我们如何利用这些被污染的知识，以及当代对待差异的态度有时如何重复历史上的愚蠢行为。2)艺术。为了摆脱早期作家赋予爵士作为民间表达的原始主义，战后的法国评论家开始为这种风格构建一种价值框架——基于历史进步和个人天才的思想——从西方艺术传统转移而来，这是有问题的。第三章分析了爵士作曲家/评论家安德烈·霍代尔（andr<s:1> Hodeir）的作品，他试图通过将外国（爵士即兴创作）融入熟悉的（他自己的艺术音乐创作）来克服对法国“不真实”的担忧。第四章从相反的角度考察了这一问题，讨论了包括霍代尔在内的法国评论家对塞隆尼斯·蒙克的接受。在20世纪50年代，蒙克因其创新的、“真实的”即兴演奏而受到尊敬，但在60年代初，法国作家开始指责这位钢琴家停止了“发展”，并且在1964年，他在巴黎的几场演出中呈现了“作曲”的即兴演奏；每个人都代表和实践着音乐传统，想象着彼此无法完全接近，Monk和Hodeir体现了对真实性和综合的焦虑，这在60年代的法国批评话语中是可识别的，我认为这仍然是当前的。3)世界。这一部分追踪了艺术家和评论家在20世纪60年代利用“美国”音乐来批评美国和全球政治问题的方式。在第5章我检查爵士乐在法国电影,特别的让-吕克·戈达尔。对于战后着迷于美国文化类型的一代人来说，马夏尔·索拉（Martial Solal）的1960年代配乐À关于舒芙勒（de souffle）强化了世界主义现代性的理想；但就像爵士乐本身一样，这种表现逐渐被非裔美国人文化和政治活动的激进形象所淹没，在1968年的电影《一加一》中，这些形象被动员起来攻击美国的政策。这种对美国黑人解放政治的接受也成为爵士乐媒体话语的中心；在第六章中，我认为在像Jazz-hot这样的杂志上，可以看到评论家，音乐家和写信爱好者使用“音乐”辩论来探索法国在后殖民世界中的地位。这种探索也是仔细阅读巴尼·威伦（Barney Wilen） 20世纪70年代的专辑《Moshi》的主题，这张专辑由爵士乐即兴创作、政治化的歌词和萨克斯管演奏家在前法属非洲拍摄的现场录音组成。最后，本章考察了20世纪70年代作为法国势力的爵士乐和激进政治的消散，以及这段法国爵士乐历史的经典形象——比如约瑟芬·贝克（Josephine Baker），在研究结束时，她以荣誉军团骑士的身份在巴黎去世——从那时起被投入文化使用的方式。

This book project traces the ways that French ideas and practices of jazz, originally an American import, were shaped according to the changing local concerns described in the title's key terms, and in each of 3 section headings: 1) NATION. This section focuses on Hugues Panassié - the leading critical authority on jazz in Europe before WWII - and the fan society the Hot-club de France, of which Panassié was president. In chapter 1 I explore the volatile French and European politics of the 1930s, and trace Panassié's intellectual and religious formation, to show how trends in nationalist, anti-modernist French Catholic thought informed the critic's highly influential conceptualisation of jazz as primitive folk expression. In chapter 2 I examine how, in creating a pedagogic canon of jazz recordings for Hot-club members - and demonstrating in prose and person how the recorded music should be felt - Panassié aimed via the phonograph to educate the 'alienated' modern French in the ways of 'groove' and an embodied black musical culture. Panassié's insights into jazz, though products of an obsession with racial exceptionalism, are often musically valuable; here I also ask what use we might make of such tainted knowledge, and how contemporary attitudes towards difference sometimes repeat historical follies. 2) ART. In trying to escape the primitivism that early writers had accorded jazz-as-folk expression, post-war French critics began to construct for the style a framework of value - based on ideas of historical progression and the individual genius - transferred, problematically, from the Western art tradition. Chapter 3 examines analytically the work of the jazz composer/critic André Hodeir, who sought to overcome worries of French 'inauthenticity' by assimilating the foreign (jazz improvisation) into the familiar (his own art music composition). This topic is examined from the reverse angle in chapter 4, which discusses the reception French critics, including Hodeir, accorded Thelonious Monk. In the 1950s Monk was revered for his innovative, 'authentic' improvisation, but in the early-60s French writers began to censure the pianist for having ceased to 'evolve', and, in 1964, for presenting 'composed' improvisations in several Paris performances; each representing and practising music traditions imagined not fully accessible to the other, Monk and Hodeir embodied anxieties around authenticity and synthesis which, as well as being identifiable in 60s French critical discourse, I show still to be current. 3) WORLD. This section tracks the ways that artists and critics made use of an 'American' music to critique US and global political issues in the 1960s. In chapter 5 I examine jazz in French cinema, specifically that of Jean-Luc Godard. For a post-war generation fascinated by American cultural genres, Martial Solal's soundtrack to 1960's À bout de souffle reinforced ideals of cosmopolitan modernity; but like jazz itself, this representation was gradually overwhelmed by radicalised images of African American cultural and political activity which, in films like 1968's One Plus One, were mobilised to attack US policy. This reception of US black liberation politics also became central to jazz media discourses; in chapter 6 I argue that in magazines like Jazz-hot, critics, musicians and letter-writing fans can be seen using 'musical' debates to explore France's place in the post-colonial world. This exploration is also the subject of a close reading of Barney Wilen's 1970s album Moshi, assembled from jazz improvisation, politicized song lyrics and field recordings taken by the saxophonist in the former French Africa. In conclusion the chapter examines the 1970s dissipation of both jazz and radical politics as forces in France, and the ways in which classic images of this French jazz history - like that of Josephine Baker, who, at the study's end, dies in Paris as a Knight of the Legion d'Honneur - have since been put to cultural use.