Table Of ContentJ A Z Z
5 J A Z Z
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 poli-
m
tics of the Cold War between East and West, and in the exploration of bound-
s
aries of artistic freedom. In socialist Czechoslovakia, Yugoslavia, Hungary i
n
and Poland, the situation began to change after 1956 and then 1968, when the er
d
ideologists shifted from the aesthetics of socialist realism to postmodernism. o
In Western countries such as France and Italy, jazz transformed from a mod- m
t Jazz under State Socialism
ern to a postmodern period. This volume deals with the impact of these chang- s
o
es on the career development of jazz musicians – even beyond 1989 – in terms P
of various phenomena such as emigration, child prodigies, multiculturalism, o 5
t
multi-genre approaches, or female jazz musicians. m
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Yvetta Kajanová is a Professor of Musicology at Comenius University in G. Socialist Realism
Bratislava (Slovakia). /
á
Gertrud Pickhan is a Professor of East Central European History at the Insti- v
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tute for East European Studies at Freie Universität Berlin. n
Ja
Rüdiger Ritter holds a PhD in History of East and East Central Europe and aj to Postmodernism
K Umschlaggestaltung:
Musicology.
Y. © Olaf Gloeckler, Atelier Platen, Friedberg
Cover Design:
© Olaf Gloeckler, Atelier Platen, Friedberg
www.peterlang.com ISBN 978-3-631-67173-3
Conception de la couverture du livre:
© Olaf Gloeckler, Atelier Platen, Friedberg
J A Z Z
5 J A Z Z
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 poli-
m
tics of the Cold War between East and West, and in the exploration of bound-
s
aries of artistic freedom. In socialist Czechoslovakia, Yugoslavia, Hungary i
n
and Poland, the situation began to change after 1956 and then 1968, when the er
d
ideologists shifted from the aesthetics of socialist realism to postmodernism. o
In Western countries such as France and Italy, jazz transformed from a mod- m
t Jazz under State Socialism
ern to a postmodern period. This volume deals with the impact of these chang- s
o
es on the career development of jazz musicians – even beyond 1989 – in terms P
of various phenomena such as emigration, child prodigies, multiculturalism, o 5
t
multi-genre approaches, or female jazz musicians. m
s
Zi
l
a
e
R
t
s
i
l
a
i
c
o
S
m
o
r
Z f
z
z
a
J
·
)
.
s
d
e Yvetta Kajanová / Gertrud Pickhan /
(
r
e
t Rüdiger Ritter (eds.)
t
i
R
AR.
n / Jazz from
a
h
k
c
i
P
Yvetta Kajanová is a Professor of Musicology at Comenius University in G. Socialist Realism
Bratislava (Slovakia). /
á
Gertrud Pickhan is a Professor of East Central European History at the Insti- v
o
tute for East European Studies at Freie Universität Berlin. n
Ja
Rüdiger Ritter holds a PhD in History of East and East Central Europe and aj to Postmodernism
K Umschlaggestaltung:
Musicology.
Y. © Olaf Gloeckler, Atelier Platen, Friedberg
Cover Design:
© Olaf Gloeckler, Atelier Platen, Friedberg
www.peterlang.com
Conception de la couverture du livre:
© Olaf Gloeckler, Atelier Platen, Friedberg
Jazz from Socialist Realism to Postmodernism
JAZZ
Jazz under State Socialism
Edited by Gertrud Pickhan
and Rüdiger Ritter
Vol. 5
Yvetta Kajanová / Gertrud Pickhan / Rüdiger Ritter (eds.)
Jazz from Socialist Realism
to Postmodernism
Bibliographic Information published by the Deutsche Nationalbibliothek
The Deutsche Nationalbibliothek lists this publication in the Deutsche
Nationalbibliografie; detailed bibliographic data is available in the internet
at http://dnb.d-nb.de.
Library of Congress Cataloging-in-Publication Data
Names: Kajanová, Yvetta. | Pickhan, Gertrud. | Ritter, Rüdiger.
Title: Jazz from socialist realism to postmodernism / Yvetta Kajanová,Gertrud Pickhan,
Rüdiger Ritter (eds.).
Description: Frankfurt am Main : Peter Lang, 2016. | Series: Jazz under state socialism ; vol. 5
Identifiers: LCCN 2016036392 | ISBN 9783631671733
Subjects: LCSH: Jazz—Political aspects—Europe, Eastern—History. | Jazz—Europe,
Eastern—History and criticism. | Socialism and music. | Communism and music
Classification: LCC ML3918.J39 J385 2016 | DDC 781.65094—dc23 LC record available
at https://lccn.loc.gov/2016036392
Translation: Lea & Geoffrey Duffell, Peter Barrer,
Katarína Godárová, Monika Dorna, Noé Cugny
Reviewers: Assoc. Prof. Vladimír Zvara, PhD., Dr. Marcus Zagorski, PhD.
Gratefully acknowledging the financial support of VEGA and FG in publishing this book (VEGA
Research Agency grant 1/0086/15, FG09/2016).
This volume was based and developed according to the research hypotheses of the project
COURAGE. This project has received funding from the European Union’s Horizon 2020 re-
search and innovation program under grant agreement No 692919.
ISSN 1867-724X
ISBN 978-3-631-67173-3 (Print)
E-ISBN 978-3-653-06579-4 (E-PDF)
E-ISBN 978-3-631-69784-9 (EPUB)
E-ISBN 978-3-631-69785-6 (MOBI)
DOI 10.3726/978-3-653-06579-4
© Peter Lang GmbH
Internationaler Verlag der Wissenschaften
Frankfurt am Main 2016
All rights reserved.
Peter Lang Edition is an Imprint of Peter Lang GmbH.
Peter Lang – Frankfurt am Main ∙ Bern ∙ Bruxelles ∙ New York ∙
Oxford ∙ Warszawa ∙ Wien
All parts of this publication are protected by copyright. Any
utilisation outside the strict limits of the copyright law, without
the permission of the publisher, is forbidden and liable to
prosecution. This applies in particular to reproductions,
translations, microfilming, and storage and processing in
electronic retrieval systems.
This publication has been peer reviewed.
www.peterlang.com
“The study of music during the Cold War is an active and growing field of
research in music today, and this book will be an excellent contribution to
this field and to jazz studies more generally. The book examines one of the
richest and most interesting periods in the history of jazz, and it considers
a remarkably broad selection of personalities and issues against the con-
text of the Cold War. It includes both expert local studies that incorporate
fascinating archival documents, and the larger global context in which the
local takes shape. In addition to learning about how individuals and styles
were affected by differing relations between East and West, the reader will
also gain insight into the concept and history of jazz itself.”
Dr. Marcus Zagorski, PhD.
Contents
Yvetta Kajanová
Introduction ............................................................................................9
I. The East and The West before 1989
Rüdiger Ritter
Broadcasting Jazz into the Eastern Bloc – Cold War Weapon
or Cultural Exchange? The Example of Willis Conover ........................13
Laurent Cugny
Jazz in France 1917–1929: the Missing Object of the Reception ...........43
Luca Cerchiari
Valaida Snow: The First Multi-Instrumentalist between
America and Europe ..............................................................................59
Igor Wasserberger
The Emergence of the Nordic Concept as a Precursor of
Emancipation and Slovak-Scandinavian Relations (1950–1970) ...........73
Márton Szegedi
Hungarian Free Jazz: Compositional and Improvisational
Structures in the Music of György Szabados, as Exemplified
in “The Wedding” .................................................................................83
Jan Blüml
The Jazz Section and its Influence on the Development
of Regional Cultures in Czechoslovakia before 1989:
the Music Scene in Olomouc ...............................................................105
Yvetta Kajanová
Jazz Artists in the Former Czechoslovak Socialist Republic
and Their Conflicts with the Socialist Ideology ....................................119
8 Contents
Zuzana Ben Lassoued
The Different Careers of Slovak and Czech Jazz Musicians
in the United States – Laco Déczi, Jan Hammer, Miroslav
Vitouš, Jiří Mráz .................................................................................139
Yvetta Kajanová & Zuzana Vachová
Classical Music and Jazz as Inspirations for Modern Music Fusions......155
Gabriel Bianchi
Who Best Knows What Jazz Is? The Legacy of L’ubomír
Tamaškovič, a Unique Slovak Jazzman in Post-Modern Times ............175
II. The East and The West after 1989
Julijana Zhabeva Papazova
Toni Kitanovski and Cherkezi Orchestra – Global
and Local Intercourse ..........................................................................199
Igor Pietraszewski
Strategies of Domination or Ways of Differentiation
from Rivals in the Jazz Field ................................................................211
Yvetta Kajanová
The Changing Face of Slovak Jazz .......................................................225
Miroslav Zahradník
Jazz Personalities after the Downfall of the Iron Curtain:
Matúš Jakabčic and His Contribution to Slovak Jazz ..........................243
Yvetta Kajanová & Daniel Hevier Jr.
Penetration of Jazz into Various Genres and Subcultures ....................265
Peter Motyčka
Jazz: Made in Europe ..........................................................................281
L’ubomír Chalupka
Peter Breiner – A Slovak Musician ......................................................287
Piotr Milwiw-Baron
Jazz: Labour versus Opus ....................................................................303
