Chris Tonelli - Voices Found: Free Jazz and Singing

PART I
Sources

PART II
Theories

Since the 1990s, the study of jazz has changed dramatically, as the field continues to open up to a variety of disciplinary perspectives and critical models. Today, as the musics meaning undergoes profound changes, there is a pressing need to situate jazz within an international research context and to develop theories and methods of investigation that open up new ways of understanding its cultural significance and its place within different historical and social settings.

The Transnational Studies in Jazz Series presents the best research from this important and exciting area of scholarship and features interdisciplinary and international perspectives on the relationships between jazz, society, politics, and culture. The series provides authors with a platform for rethinking the methodologies and concepts used to analyze jazz and will seek to work across disciplinary boundaries, finding different ways of examining the practices, values, and meanings of the music. The series explores the complex cultural and musical exchanges that have shaped the global development and reception of jazz. Contributors will focus on studies of the music that find different ways of telling the story of jazz with or without reference to the United States and will investigate jazz as a medium for negotiating global identities.

TonyWhyton

NicholasGebhardt

Series Editors

This book would not have been possible without the support of the International Institute for Critical Studies in Improvisation (IICSI). The data was collected during my postdoctoral fellowship with IICSI, and afterwards IICSI has continued to provide important support. I am eternally grateful to the whole IICSI team, especially Ellen Waterman, Ajay Heble, Daniel Fischlin, Eric Lewis, Frederique Arroyas, Rachel Collins, Justine Richardson, Elizabeth Jackson, Richelle Forsey, Lauren Michelle Levesque, Kimber Sider, and Kim Thorne.

My deep gratitude also extends to the artists who shared their time, ideas, and sounds and supported the project in other ways. First among these is Paul Dutton, who nurtured my interest in this topic for two decades with all manner of generosity. I could not possibly thank him enough for the mentorship, friendship, and support he has given me. Fifteen years of inspiration and energy from Christine Duncan were also elemental to shaping this project. She is best kind, and I thank her for the free-flowing generosity over these years. Kindness from Tomomi Adachi for an equally long period has also played a special role in forming this project. Im glad our paths crossed as many times as they have, and Im grateful for the kindness he has shown to me. Extraordinary levels of kindness also flowed my way from Phil Minton, Maggie Nicols, David Moss, Trevor Wishart, Jaap Blonk, Gabriel Dharmoo, Ute Wassermann, Michael Edward Edgerton, and W. Mark Sutherland. They all gave more than just their time and ideas to this project, and I am grateful for the ways they have gone above and beyond. I am also sincerely thankful to Richard Armstrong, Theo Bleckmann, Thomas Buckner, Lisa Butel, Viv Corringham, Gary Diggins, Graldine Eguiluz, Soressa Gardner, Annette Giesriegl, Ayelet Rose Gottlieb, Camille Hesketh, Joane Htu, Shelley Hirsch, Anna Homler, Christine Jeffrey, Thomas Johannsen, Salome Kammer, Donna Lytle, Dafna Naphtali, Mankwe Ndosi, Helen Pridmore, Carol Sawyer, Petra van der Schoot, Fay Victor, Veryan Weston, Grace Yuen, Gerard Yun, Pamela Z, and dozens of members of Christine Duncans Element Choir and DB Boykos Voice Over Mind Choir, who were all fantastically generous for participating in this research. Another set of artists I am deeply grateful to are all the members of the various Vocal Exploration Choirs I established in Guelph, St Johns, and Groningen; we have shared wonderful moments, and I am thankful to have spent time with you all. Special thanks goes to Mack Furlong, Alison Carter, Michael Waterman, Cassondra Murray, and Kati Szego for the extra love youve put into VocalX. Finally, there are too many artists to name whose collaboration has allowed me to joyfully keep up the singing practice that has informed my perspective on this volumes topic. I am grateful to everyone Ive sung with over the past twenty years. Some have been mentioned above, but a few others I am especially grateful to are Jude Weirmeir, Fiona Chatwin, Tina Pearson, Paul Bendzsa, Guy Obrecht, and Andrew Staniland.