Journal of Jazz Studies (JJS)
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Reflections on (and in) Strunk's Tonnetz
No full textJoon Park takes a closer look at Steven Strunk's innovative application of the neo-Riemannian Tonnetz to jazz. Strunk reinterprets neo-Riemannian transformations as geometric reflections—as opposed to more conventional group theory operations—showing his understanding of jazz performance practice. Park clarifies the difference between conventional methods and Strunk's. In addition to illustrating Steve’s close accord with jazz performance practice, Park extends his work by representing Z-related sets on the Tonnetz
Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study
No full textKeith Salley and Dan Shanahan’s “Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study” reflects a number of Steven Strunk's scholarly interests. The authors encourage readers to consider how the layered analyses at the end of Strunk’s seminal “Harmony of Early Bop” article (JJS 6.1) agree, depart from, or inform the processes discussed in their contribution. Furthermore, Salley and Shanahan’s broad stylistic survey of standard jazz tunes resonates notably with Strunk’s work—particularly his “Linear Intervallic Patterns in Jazz Repertory” (ARJS 8) and his entry on “Harmony” in the New Grove Dictionary of Jazz
Melodic Structure in Bill Evans's 1959 "Autumn Leaves"
No full textSteven Strunk's analysis and transcription of Bill Evans's 1959 "Autumn Leaves" with an editorial preface by Keith Salley
Circular Thinking: A Roundtable on "Blue in Green" and "Nefertiti"
No full textA roundtable featuring Keith Waters, Henry Martin, Steve Larson, and Steven Strunk. The talk frames general principles of circular tunes and explores two of them from the 1960s: "Blue in Green" and "Nefertiti.
Jazz Harmony: A Progress Report
No full textThe aims of this essay are twofold. On one level, it is a careful look at three recent textbooks on jazz theory. On another level, it extrapolates from its status as a review to consider what jazz theory is today
Lee Morgan: A Retrospective
No full textHoward Sterling Fulcher remembers presenting Lee Morgan's quintet at the Lafayette Playhouse in Paterson, New Jersey, in 1970. Images of the band in action are included
Of Icons and Iconography: Seeing Jimmie Blanton
No full textThis article explores how iconography can be a useful analytical tool, and in the process help to demystify the lives and music of so-called jazz icons. I will start by illustrating how a narrative around jazz bassist and Ellingtonian Jimmie Blanton (1918-1942) grew that posits him as an artistic hero in the pantheon of jazz history. Next I will highlight some problems that arise with such canonization and examine two case studies focused on Blanton, one based on statements historian Gunther Schuller made in regard to the bassist’s right hand posture, and a second one focusing on his tone in relation to his physical position within the Duke Ellington Orchestra. In both cases visual sources are used to gain a better understanding of Blanton’s performance technique, which in turn aids to nuance his iconic framing
(Un) Cool Cats: Challenging the Traditional View of the French Response to Jazz
No full textA review of Andy Fry's new book, Paris Blues: African American Music and French Popular Culture, 1920-1960