02253    a2200373   4500001001100000005001700011008004100028020001800069037003600087040000700123041000800130072001600138072001700154072001300171072001500184072001500199072001500214072001400229072001400243072001400257072001100271072002100282072002100303072002100324072002100345072002000366100001600386245005200402250000600454260003200460300001000492520135300502700002401855135197314220250317111624.0250312042017GB        10           eng    a9781351973144  bTaylor & FranciscGBP 42.99fBB  a01  aeng7 aAVLP2thema7 aJBCC12thema7 aD2thema7 a6JD2bisac7 a6PB2bisac7 a6RF2bisac7 aAVGJ2bic7 aJFCA2bic7 aAVGP2bic7 aD2bic7 aMUS0250002bisac7 aMUS0200002bisac7 aMUS0000002bisac7 aLIT0000002bisac7 a781.65092bisac1 aRoger Fagge10aNew Jazz ConceptionsbHistory, Theory, Practice  a1  aOxfordbRoutledgec20170626  a220 p  bNew Jazz Conceptions: History, Theory, Practice is an edited collection that captures the cutting edge of British jazz studies in the early twenty-first century, highlighting the developing methodologies and growing interdisciplinary nature of the field. In particular, the collection breaks down barriers previously maintained between jazz historians, theorists and practitioners with an emphasis on interrogating binaries of national/local and professional/amateur. Each of these essays questions popular narratives of jazz, casting fresh light on the cultural processes and economic circumstances which create the music. Subjects covered include Duke Ellington’s relationship with the BBC, the impact of social media on jazz, a new view of the ban on visiting jazz musicians in interwar Britain, a study of Dave Brubeck as a transitional figure in the pages of Melody Maker and BBC2’s Jazz 625 , the issue of ‘liveness’ in Columbia’s Ellington at Newport album, a musician and promoter's views of the relationship with audiences, a reflection on Philip Larkin, Kingsley Amis and Eric Hobsbawm as jazz critics, a musician’s perspective on the oral and generational tradition of jazz in a British context, and a meditation on Alan Lomax’s Mr. Jelly Roll , and what it tells us about cultural memory and historical narratives of jazz.1 aNicolas Pillai4B01