Chapter Overview

This chapter considers the influence of historical perspective- the perpetuation and valuing of an ever-lengthening jazz past-on developments in jazz throughout its own history. This outlook is especially relevant within educational frameworks and begins in the 1930s with the development of jazz history and the revival of New Orleans jazz in live performance (continuing to the present day with Preservation Hall). It deepens in the 1950s, as jazz moves into academia and festivals and as musicians begin creating music that refers back to the past. In the 1970s, jazz was understood as a "tradition," and avant-garde artists began making a point of including music as far back as ragtime in their new compositions. Until the sudden breakthrough of Wynton Marsalis, avantgarde and fusion jazz reigned through the 1980s. Marsalis's career is considered through Jazz at Lincoln Center as well as the success of the Young Lions and the renewed interest in the older guard (Dexter Gordon, Joe Henderson). Nostalgia plays a role (Harry Connick, Diana Krall), reinforced by CD reissues that crowd record stores with older music. Repertory bands and the use of jazz in film (Kansas City, Bird), advertising, and documentaries (Ken Burns's Jazz) are also examined as are the peculiar historicism of Shannon Jackson and James Carter, both of whom transform the tradition in unexpected ways.

Chapter 18 Jukebox