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Posthumously Live: Canon Formation at Jazz at Lincoln Center through the Case of Mary Lou Williams

Posthumously Live: Canon Formation at Jazz at Lincoln Center through the Case of Mary Lou Williams KimberlY HANNoN teAl over the course of its quarter-century history, Jazz at lincoln Center (JAlC) has rapidly become the world's largest jazz institution and, intentionally, one of its most influential. but before even one note of the opening concert sounded in the summer of 1991, musicians, journalists, and listeners had already begun to criticize the organization for the ideological ramifications of its programming choices. organizers of the inaugural season planned to put its million-dollar budget, unprecedented in jazz, into offering a steady stream of concerts supplemented by six lectures and two educational programs for children. established members of the jazz community expressed wariness of the change this massive new institution would bring. in an article for the New York Times in August 1991 titled "Good News in Jazz, with a big Caveat," critic Peter watrous wrote, "even nationally, the brute force of a million-dollar first-year budget and a string of 18 concerts, all emanating from an American institution dedicated to the preservation of classical music, has to act as a legitimizing influence."1 watrous's use of the word "preservation" rather than "performance" is striking, and it speaks to the basic conflict highlighted by the organization's opponents. "Preserving" the music http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Posthumously Live: Canon Formation at Jazz at Lincoln Center through the Case of Mary Lou Williams

American Music , Volume 32 (4) – Jul 26, 2014

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Publisher
University of Illinois Press
Copyright
Copyright © University of Illinois Press
ISSN
1945-2349
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Abstract

KimberlY HANNoN teAl over the course of its quarter-century history, Jazz at lincoln Center (JAlC) has rapidly become the world's largest jazz institution and, intentionally, one of its most influential. but before even one note of the opening concert sounded in the summer of 1991, musicians, journalists, and listeners had already begun to criticize the organization for the ideological ramifications of its programming choices. organizers of the inaugural season planned to put its million-dollar budget, unprecedented in jazz, into offering a steady stream of concerts supplemented by six lectures and two educational programs for children. established members of the jazz community expressed wariness of the change this massive new institution would bring. in an article for the New York Times in August 1991 titled "Good News in Jazz, with a big Caveat," critic Peter watrous wrote, "even nationally, the brute force of a million-dollar first-year budget and a string of 18 concerts, all emanating from an American institution dedicated to the preservation of classical music, has to act as a legitimizing influence."1 watrous's use of the word "preservation" rather than "performance" is striking, and it speaks to the basic conflict highlighted by the organization's opponents. "Preserving" the music

Journal

American MusicUniversity of Illinois Press

Published: Jul 26, 2014

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