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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 Kimberl Y HANNo N te Al Posthumously l ive: Canon Formation at Jazz at l incoln Center through the Case of m ary l ou w illiams o ver the course of its quarter- century history, Jazz at l incoln Center (JAl C) has rapidly become the world’s largest jazz institution and, inten- tionally, one of its most influential. b ut before even one note of the open- ing concert sounded in the summer of 1991, musicians, journalists, and listeners had already begun to criticize the organization for the ideologi- cal ramifications of its programming choices. o rganizers 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. e stablished 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 b ig Caveat,” critic Peter w atrous wrote, “e ven 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 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, 2015

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

Kimberl Y HANNo N te Al Posthumously l ive: Canon Formation at Jazz at l incoln Center through the Case of m ary l ou w illiams o ver the course of its quarter- century history, Jazz at l incoln Center (JAl C) has rapidly become the world’s largest jazz institution and, inten- tionally, one of its most influential. b ut before even one note of the open- ing concert sounded in the summer of 1991, musicians, journalists, and listeners had already begun to criticize the organization for the ideologi- cal ramifications of its programming choices. o rganizers 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. e stablished 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 b ig Caveat,” critic Peter w atrous wrote, “e ven 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

Journal

American MusicUniversity of Illinois Press

Published: Jul 26, 2015

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