French concert music and jazz often enjoyed a special creative exchange
across the period 1900-65. French modernist composers were particularly
receptive to early African-American jazz during the interwar years, and
American jazz musicians, especially those concerned with modal jazz in
the 1950s and early 1960s, exhibited a distinct affinity with French
musical impressionism. However, despite a general, if contested,
interest in the cultural interplay of classical music and jazz, few
writers have probed the specific French music-jazz relationship in
depth. In this book, Deborah Mawer sets such musical interplay within
its historical-cultural and critical-analytical contexts, offering a
detailed yet accessible account of both French and American
perspectives. Blending intertextuality with more precise borrowing
techniques, Mawer presents case studies on the musical interactions of a
wide range of composers and performers, including Debussy, Satie,
Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave
Brubeck.
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