Don Cherry's life and music: popular modernism and consciousness-raising

唐·切里(1936-1995)是一位多乐器演奏家，最著名的身份是爵士乐小号手。尽管他的音乐生涯很奇特，但从自由爵士乐的诞生到他进军世界音乐的先锋乐团，令人惊讶的是，无论是学术上的还是其他方面，关于他的文章都很少。对于这一博士学位，我计划对切里流行的现代主义音乐方法进行严格的研究，通过他的录音作品和基本上不为人知的传记来提高意识。作为政治实践的“意识提高”的概念最近在文化研究中出现了复兴--特别是在马克·费舍尔等人的作品中。-以及在当代社会运动中(从#MeToo到黑人生命也是如此及以后)。这个概念将允许我们探索樱桃音乐所体现的另类社会性，这反过来又将扩展最近关于即兴创作的社会美学的工作(Georgina Born等人)。樱桃音乐的核心是他与现代主义的复杂接触。在《黑人大西洋》一书中，保罗·吉尔罗伊强调了散居海外的黑人文化在塑造现代主义方面所起的不可或缺的作用。爵士乐在这方面扮演的角色是广泛辩论的主题。切瑞的音乐最好的理解是对沃纳·索勒斯所称的“民粹主义现代主义”的干预--就现代主义的实验主义通常被理解为对流行文化有害的而言，这是一种看似自相矛盾的配对。正如詹姆斯·斯梅瑟斯特所说，非裔美国先锋分子试图通过两种截然不同的方式克服这一悖论：要么参与大众文化，要么重新想象民间文化。对切里方法的研究--主要属于后一种努力--将加深人们对试图调和大众政治与现代主义美学的现有理解。他处理这一明显矛盾的方式--带着它进行世界巡演--是独一无二的。切里的方法让他远离了可市场形式的现代主义，转而走上街头。1976年的视频显示，他带着一只西非杜松尼穿过哈莱姆区。他没有销售带有政治歌词的专辑，而是突出了一种现场的、民主的音乐形式，扰乱了表演者和观众之间的分歧，甚至为儿童开办了免费的爵士乐工作坊。然而，这种现场的、民主的、提高意识的音乐方式之所以特别有趣，是因为它与切丽的高度现代主义相结合。切里最出名的是在奥内特·科尔曼的第一次自由爵士乐实验中作为边锋取得了突破。尽管切里继续探索来自世界各地的“民间传统”，但他从未否认他与科尔曼开始的正式的、现代主义的实验。相反，他试图通过流行的音乐传统将这种实验性的现代主义民主化并改变路线。这样的方法意义重大，因为它表明，樱桃的自发发生不仅仅是为了“重新发现”非洲文化，而是通过跨国方法传递现代的黑人经验来形成新的流行文化，通过对“民间传统”(这种审美在很大程度上是由樱桃的巡回生活方式塑造的，她在瑞典乡村、纽约和频繁的旅行之间奔波)。在对1968年后历史的思考性重新想象中--在那个时代，这种“民间”尝试没有被商业唱片公司复原，并被包装成“世界音乐”的整齐类别--这种流行的、跨国的现代主义本可以成为全球革命的(反)声音(轨道)。因此，这项研究将试图通过贯穿其中的“感觉结构”(雷蒙德·威廉姆斯)来追踪樱桃的音乐，从嬉皮士的神秘主义到残留的第三世界主义，再到萌芽中的生态情感。

Don Cherry (1936-1995) was a multi-instrumentalist best known as a jazz trumpeter. Despite the singularity of his musical career, from the birth of free jazz to his ventures into "world music" avant la lettre, surprisingly little - scholarly or otherwise - has been written about him. For this PhD I plan to undertake a rigorous study of Cherry's popular modernist approach to music as consciousness-raising via his recorded work and largely untold biography.The concept of "consciousness-raising" as political practice has seen a recent revival both in cultural studies - notably in the work of Mark Fisher et al. - as well as in contemporary social movements (from #MeToo to Black Lives Matter and beyond). This concept will allow us to explore the alternative sociality embodied by Cherry's music, which will in turn extend recent work on the social aesthetics of improvisation (Georgina Born et al.).Central to Cherry's music was his complex engagement with modernism. In The Black Atlantic, Paul Gilroy highlighted the integral role that black diasporic culture has had in shaping modernism. The role jazz has played in this is the subject of extensive debate. Cherry's music is best understood as an intervention in what Werner Sollors dubbed "populist modernism" - a seemingly paradoxical pairing in so far as modernism's experimentalism is usually understood as inimical to popular culture. As James Smethurst argues, African-American avant-gardes attempted to overcome this paradox in two distinct ways: either engaging with mass culture or reimagining folk cultures. A study of Cherry's approach - which falls largely within the latter endeavour - would deepen existing understandings of attempts to reconcile popular politics with modernist aesthetics. The way in which he played with this apparent contradiction- taking it on a world tour - is unique.Cherry's approach took him away from marketable forms of modernism and into the street. Footage from 1976 shows him walking through Harlem with a West-African doussn'gouni. Rather than selling albums with political lyrics, he foregrounded a live, democratic form of music, troubling the performer-spectator divide, and even running free jazz workshops for children.Yet what makes this live, democratic, consciousness-raising approach to music uniquely interesting is the way it intersected with Cherry's high modernism. Cherry is best known for having broken through as a sideman in Ornette Coleman's first experiments in free jazz. Despite going on to explore "folk traditions" from around the world, Cherry never repudiated the formal, modernist experimentations that he began with Coleman. Rather he attempted to democratise and re-route this experimental modernism by drawing it through popular musical traditions. Such an approach is significant in so far as it suggests that Cherry's spontaneous happenings were not simply about "rediscovering" African culture, but rather about forming new popular cultures by routing black experiences of modernity through a transnational approach to "folk traditions" (an aesthetic shaped in significant ways by Cherry's itinerant lifestyle, split between the Swedish countryside, New York, and frequent travels). In a speculative re-imagining of post-1968 history - in which such "folk" experimentations were not recuperated by commercial labels and packaged into the neat category of "World Music" - this popular, transnational modernism could have been the (anti-)sound(track) of global revolution. As such, this research will seek to trace Cherry's music through the "structures of feeling" (Raymond Williams) that run through it, from hippy mysticism to residual Third Worldism to nascent ecological sensibilities.