Rhythm Changes

ALAN STANBRIDGE is an Associate Professor in Music and Culture at the University of Toronto, Canada

• Introduction: The Persistence of Authenticity1. The Challenge of the Past: Jazz, Parody, and Jazz DiscourseThey Brainwash and Teach You Hate: From Parody to ProtestIt Ain’t Necessarily So: From Caricature to CelebrationIn a Sentimental Mood: From Ridicule to RomanticismNotes2. A Few of My Favorite Things: Analyzing Jazz, Interpreting Irony, Assessing Value"Saying Something": Coltrane, Irony, and ‘My Favorite Things’"White Things," Black Things, and a Few Other Things"Undeniable Qualities": Homage, Value-For, and Ideological Hegemony"Myriad Subtleties," Bebop Parody, and the Question of Context"We’re in the Money": Irony, Complexity, and Social NormativityNotes3. My Only Sunshine: Jazz, Country Music, George Russell, and Musical MeaningWay Out West: From Cowhand Sonny to Dangerous DaveyCowboy Favorites: Jazz Meets Country MusicYou Are My Sunshine: From Singing Cowboys to Gassed SoulstersHappy Endings: George Russell Meets ‘You Are My Sunshine’Sunshine Redux: From Kiddies Songs to Kitchen AppliancesNotes4. Divine Revelations: Keith Jarrett, Acoustic Authenticity, and Romantic GeniusFun With Toys: Miles, Electricity, and Acoustic ReliefA Blazing Forth of a Divine Will: Blank Slates, Claptrap, and Emphysemic GoatsBody and Soul: Sacred Space, the State of Grace, and Everyday EcstasyBlessed With Genius: The Flame Itself, the Man from Porlock, and the Heavenly OstrichPlay On, Play On: Robert Bly, the Wild Man, and the Neglected Male PsycheTouch the Soil: Elemental Instruments, Indian Country, and the Noble SavageNotes5. The Body Electric: Music, Machines, and Mechanical ReproductionI Sing the Body Electric: Aesthetic Materialism, Technological Humanism, and Electrical GrandmothersSpark of Being: Frankenstein, Electricity, and the Merging of Text and FormUndervaluing Overdubbing: Jazz, Spontaneity, and Recording Studio TrickeryEssential and Divine: Faithful Fidelity, Analogue Authenticity, and "exactly what was played"Preserving Spontaneity: Free Improvisation, Live Performance, and the Paradox of Sound RecordingNotes6. Can Blue Men Sing the Whites? African American Exceptionalism, European Stereotypes, and the Jazz Studies DebateGetting To Know You: The ‘Afrological,’ the ‘Eurological,’ and the IllogicalThe Anxiety of Affluence: Race, Class, and European ‘Privilege’A Pan-European Conspiracy? Cultural Nationalism, Nativist Politics, and Foreign CompetitorsThe Emancipation Problem: African American Models and German BelligerentsA Delicate, Nuanced Approach? Humour, Improvisation, and Composer-Centred MusicNetworks of Power: Whiteness, Erasure, and World HarmonyPostscript: Say It Loud, I’m British and I’m ProudNotesReferencesDiscographyFilmography