Edited By Yvetta Kajanová, Gertrud Pickhan and Rüdiger Ritter
In the 20th century, jazz was an important artistic form. Depending on the particular European country, jazz music carried different social, political and aesthetic meanings. It brought challenges in the areas of racial issues, the politics of the Cold War between East and West, and in the exploration of boundaries of artistic freedom. In socialist Czechoslovakia, Yugoslavia, Hungary and Poland, the situation began to change after 1956 and then 1968, when the ideologists shifted from the aesthetics of socialist realism to postmodernism. In Western countries such as France and Italy, jazz transformed from a modern to a postmodern period. This volume deals with the impact of these changes on the career development of jazz musicians – even beyond 1989 – in terms of various phenomena such as emigration, child prodigies, multiculturalism, multi-genre approaches, or female jazz musicians.
Who Best Knows What Jazz Is? The Legacy of L’ubomír Tamaškovič, a Unique Slovak Jazzman in Post-Modern Times
Abstract: Based on a review of almost seventy extensive live radio discussions, conducted over eight years with a diversity of domestic and international musicians, jazz theoreticians, music experts, jazz promoters, and intellectuals, the author challenges the “disciplined” view on the subject of jazz. He also presents Slovak saxophonist L’ubomír Tamaškovič.
Of all that is written I love only what a man has written with his blood. Write with blood, and you will experience that blood is spirit. (Nietzsche, Thus Spoke Zarathustra, I.)
Instead of referring only to authorities and pinpointing key dimensions of jazz, author’s aim is to explore the boundary zones and beyond, the representations of jazz in the broad cultural and intellectual arena, the perceptions from “outside” the jazz world, its evolutionary and narrative aspects, etc. The deliberation on the meaning of jazz can be expanded over wide realms covering aesthetics and art, lifestyle and fashion, pleasure, identity, education, politics, economies, or media involvement. Whilst trying to embrace the current discourse on jazz, the author takes the opportunity to introduce L’ubomír Tamaškovič, a unique performer of modern jazz in Slovakia, and to juxtapose his strong but marginalised position with the current jazz trends.
Myriads of diverse definitions of jazz have been formed throughout the history of jazz, jazz journalism and musicology. From Louis Armstrong’s witty and notorious statement ‘If you have to ask, you do not know (what jazz ← 175...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.