Authenticity as authenticating—the case of New Orleans jazz revivalism: An approach from grounded theory and social world analysis

    Research output: Contribution to journalArticle

    Abstract

    This article considers the emergence and development of New Orleans jazz revivalism in terms of a conceptual framework developed around the core category of ‘authenticating’. It developsa grounded theory of authenticating conceptualized as a ‘basic social process’ and constructs a phased trajectory of authenticating that incorporates the major sub-processes identified as‘sourcing’, ‘selecting’, ‘adopting’, ‘adapting’ and ‘progressing’ authenticity. The article sets these sub-processes within competing social worlds of jazz authenticity and purism, as they and their accompanying ideologies have variously emerged and segmented.
    LanguageEnglish
    Pages24-52
    JournalPopular Music History
    Volume7
    Issue number1
    Publication statusPublished - 1 Feb 2012

    Fingerprint

    jazz
    grounded theory
    authenticity
    social process
    Ideologies

    Keywords

    • authenticating
    • authenticity
    • Dan Pawson
    • grounded theory
    • Ken Colyer
    • New
    • Orleans jazz revivalism
    • social worlds

    Cite this

    @article{213c52aeb21a4f838c11e4e784347a64,
    title = "Authenticity as authenticating—the case of New Orleans jazz revivalism: An approach from grounded theory and social world analysis",
    abstract = "This article considers the emergence and development of New Orleans jazz revivalism in terms of a conceptual framework developed around the core category of ‘authenticating’. It developsa grounded theory of authenticating conceptualized as a ‘basic social process’ and constructs a phased trajectory of authenticating that incorporates the major sub-processes identified as‘sourcing’, ‘selecting’, ‘adopting’, ‘adapting’ and ‘progressing’ authenticity. The article sets these sub-processes within competing social worlds of jazz authenticity and purism, as they and their accompanying ideologies have variously emerged and segmented.",
    keywords = "authenticating, authenticity, Dan Pawson, grounded theory, Ken Colyer, New, Orleans jazz revivalism, social worlds",
    author = "Richard Ekins",
    note = "{\circledC} Equinox Publishing Ltd 2013 Reference text: Adorno, Theodor W. 1936. ‘On Jazz’. In Theodor W. Adorno, Essays on Music, 470–95. Berkeley: University of California Press, 2002. Anon. c. 1960. ‘Sleeve Notes’. Bunk Johnson and his New Orleans Band. Brunswick, EP. OE 9257. Bell, Graeme. 1988. Graeme Bell—Australian Jazzman: His Autobiography, with discography by Jack Mitchell. Frenchs Forest, NSW: Child and Associates. Bethell, Tom. 1977. George Lewis: A Jazzman from New Orleans. Berkeley: University of California Press. —2001. ‘Booklet Notes’. Kid Howard at San Jacinto Hall, GHB, BCD-23. —2002. ‘Booklet Notes’. George Lewis at San Jacinto Hall, GHB, BCD-34. Bird, Roger. 1977. ‘Sleeve Notes’. Andrew Hall’s Band, Rampart Records, LP. RS 104. Bissonnette, Big Bill. 1992. The Jazz Crusade: The Inside Story of the Great New Orleans Jazz Revival of the 1960s. Bridgeport, CN: Special Request Books. Blesh, Rudi. 1958 [1946]. Shining Trumpets: A History of Jazz, 4th enlarged ed. London: Cassell. Blumer, Herbert. 1954. ‘What is Wrong with Social Theory?’ American Sociological Review 18: 3–10. http://dx.doi.org/10.2307/2088165 Brackett, David. 2000. Interpreting Popular Music. Berkeley: University of California Press. http://dx.doi.org/10.1525/california/9780520225411.001.0001 Brinkman, Shannon, and Eve Abrams. 2011. Preservation Hall. Photographs by Shannon Brinkman, Interviews with Preservation Hall Members by Eve Abrams. Baton Rouge: Louisiana State University Press. Broun, Heywood Hale. 1991. ‘From an Interview Done in 1991’. Booklet notes, ‘Kid Rena 1940: Prelude to the Revival, Vol. II’. American Music. AMCD-41, 5–7. Brunn, H. O. 1961. The Story of the Original Dixieland Jazz Band. London: Sidgwick and Jackson. Bryce, Owen. 2001. The George Webb Dixielanders: My Part: The First Ten Years of the British Jazz Revival, 2nd ed. Blisworth: Owen Bryce. Buchanan, John. 1996. Emperor Norton’s Hunch: The Story of Lu Watters’ Yerba Buena Jazz Band. Sausolita, CA: Hambleton. Burns, Mike, ed. 2007. Walking with Legends: Barry Martyn’s New Orleans Jazz Odyssey. Baton Rouge: Louisiana State University Press. Carter, William. 1991. Preservation Hall: Music from the Heart. New York: W. W. Norton. Charters, Samuel B. 1963. Jazz: New Orleans 1885–1963: An Index to the Negro Musicians of New Orleans. New York: Oak Publications. —2008. A Trumpet Around the Corner: The Story of New Orleans Jazz. Jackson: University of Mississippi Press. Chilton, John. 2004. ‘Pawson, Dan’. In John Chilton, Who’s Who of British Jazz, 2nd ed., 274–75. London: Continuum. Cohen, Stanley. 1973. Folk Devils and Moral Panics. London: MacGibbon and Kee. Colyer, Ken. 1952a. ‘Letter to Bill Colyer, 3 December 1952’. In Ken Colyer, ‘Letters from New Orleans’. Ken Colyer Website. Available at http://www.kencolyer.org/ —1952b. ‘Letter to Bill Colyer, 7 December 1952’. In Ken Colyer, ‘Letters from New Orleans’. Ken Colyer Website. Available at http://www.kencolyer.org/ —c. 1960. New Orleans and Back. Produced for Ken Colyer by Arthur Brooks and Ken Pratt. Delph, Yorks. —2009. When Dreams are in Dust: The Path of a Jazzman, newly restored version. London: Ken Colyer Trust. Curran, Dale. 1947. ‘Three Brass, Four Rhythm’. In Jazzways, ed. George S. Rosenthal and Frank Zachary in collaboration with Frederic Ramsey, Jr. and Rudi Blesh, 103–109. London: Musicians Press. Davies, Russell. 1986. ‘Sleeve Notes’. ‘Humphrey Lyttelton and Russell Davies Present… Gonna Call My Children Home: The World of Buddy Bolden’. Caligraph, LP. CLGLP 013. Delaunay, Charles. 1936. Hot Discographie. Paris: Jazz Hot. DeVore, Charlie. 1998. ‘New Orleans Memories, Part 1: Interviews with Charlie DeVore’, ed. William J. Schafer. Mississippi Rag 26.2 (December): 1, 2, 4–6. Eatherton, Fred and Richard Ekins. 2012. Dan Pawson – A Discography: Dan Pawson on Vinyl, Tape, CD and DVD (1960–2002), http://www.lacroixrecords.com/DP.html. Ekins, Richard. 2008a. ‘Back on Track: The Case of the Louis James Orchestra’ [Letter to the Editor]. New Orleans Music 14.4: 25. —2008b. ‘Dan Pawson: A Tribute’. 504/La Croix CD93, booklet notes, 1–16. —2008c. ‘Pitch Monitoring, Pitch Correction and the Case of the Louis James Orchestra, 1967’. New Orleans Music 14.3: 6–14. —2009a. ‘Bob Wallis on Authenticity and the New Orleans Jazz Revival in Britain’. Just Jazz 138 (October): 22–27. —2009b. ‘Dan Pawson: Living the Legend’, 504/La Croix, CD96, booklet notes, 1–16. —2010. ‘Traditional Jazz and the Mainstreaming of Authenticity: The Case of British Traddy Pop (1959–1963)—a Grounded Theory Approach’. Popular Music History 5.2: 125–50. —2011. ‘The Rediscovery and Resurrection of Bunk Johnson—a Grounded Theory Approach: A Case Study in Jazz Historiography’. The Grounded Theory Review 10.3: 27–54. Foreman, Ronald C., Jr. 1968. ‘Jazz and Race Records, 1920–1932: Their Origins and their Significance for the Record Industry and Society’. Unpublished PhD thesis. University of Illinois. Frith, Simon. 1988. ‘Playing with Real Feeling—Jazz and Suburbia’. In Simon Frith, Music for Pleasure, 45–63. Cambridge: Polity Press. Fry, Alderson, Max Caplan and William C. Love. 1942. Who’s Who in Jazz Collecting. Nashville: Hemphill Press. Gendron, Bernard. 1995. ‘“Mouldy Figs” and Modernists: Jazz at War (1942–1946)’. In Jazz Amongst the Discourses, ed. Krin Gabbard, 31–56. Durham, NC: Duke University Press. Gennari, John. 2006. Blowin’ Hot and Cool: Jazz and its Critics. Chicago: University of Chicago Press. Glaser, Barney G. 1978. Theoretical Sensitivity: Advances in the Methodology of Grounded Theory. Mill Valley, CA: Sociology Press. —1992. Basics of Grounded Theory Research. Mill Valley, CA: Sociology Press. —1996. ‘Introduction’. In Gerund Grounded Theory: The Basic Social Process Dissertation, ed. Barney G. Glaser, ix–xvii. Mill Valley, CA: Sociology Press. —2006. Flyer, Doing Formal Grounded Theory: A Proposal. Mill Valley, California: Sociology Press. Available at http://www.sociologypress.com/books/classic_series/Doing- FormalGroundedTheory.htm Glaser, Barney G., and Anselm L. Strauss. 1967. The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine. Goodey, Brian R. 1968. New Orleans to London: Twenty Years of the New Orleans Jazz Revival in Britain’. Journal of Popular Culture 2.2: 173–94. http://dx.doi.org/10.1111/ j.0022-3840.1968.0202_173.x Greenwood, Robert. 2009. ‘Dan Pawson (1936–2002): Obituary’, cited in Richard Ekins, ‘Booklet Notes’ , Dan Pawson: Living the Legend, 1971-1998, 504/La Croix, CD96, p. 13. Gronbeck, Bruce E. 2001. ‘The Idea of Structure and Communication in David Maines’ Work’. In Studies in Symbolic Interaction, Volume 24, ed. Norman K. Denzin, 7–14. Bingley: Emerald Group. Gushee, Lawrence. 2002. ‘New Orleans Jazz’. In New Grove Dictionary of Jazz, Volume Two, 2nd ed., ed. Barry Kernfeld, 887–88. New York: Grove. Hadlock, Richard. 2000. ‘The New Orleans Revival’. In The Oxford Companion to Jazz, ed. Bill Kirchner, 305–15. Oxford: Oxford University Press. Hansen, Chadwick. 1960. ‘Social Influences on Jazz Style: Chicago, 1920–30’. American Quarterly 12.4: 493–507. http://dx.doi.org/10.2307/2710331 Hardie, Daniel. 2007. The Birth of Jazz: Reviving the Music of the Bolden Era. New York: iUniverse. Hazeldine, Mike (compiled and ed.). 1993. Bill Russell’s American Music. New Orleans: Jazzology Press. Hersch, Charles. 2008. ‘Reconstructing the Jazz Tradition’. Jazz Research Journal 2.1: 7–28. Jacobsen, Thomas W. 2011. Traditional New Orleans Jazz: Conversations with the Men who Make the Music. Baton Rouge, LA: Louisiana State University Press. Johnson, Bunk. 1947. ‘Last Testament of Great Jazzman’. Columbia, LP. GL 520. Katz, Mark. 2010. Capturing Sound: How Technology has Changed Music. Berkeley: University of California Press. Ken Colyer Trust. 1989–2010. Ken Colyer Trust Newsletter. London: Ken Colyer Trust. Korner, Alexis.1962. ‘Sleeve Notes’. ‘Too Busy’, Ken Colyer’s Jazzmen. Columbia, EP. SEG 8180. LaRocca, Nick. 1960. ‘Last Will and Testament—The Story of Jazz as Told by Nick & Discussion on Bix Beiderbecke’. A Kazoo Lips Production. CD-2008. Lee, Raymond. 2001. Dan Pawson Discography. Zwolle, Netherlands: Gerard Bielderman. Leonard, Marion, and Robert Strachan. 2003. ‘Authenticity’. In Continuum Encyclopedia of Popular Music of the World, Volume 1: Media, Industry and Society, ed. John Shepherd, David Horn, Dave Laing, Paul Oliver and Peter Wicke, 164–66. London: Continuum. Levine, Lawrence W. 1988. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America: Cambridge, MA: Harvard University Press. —1989. ‘Jazz and American Culture’. Journal of American Folklore 102: 6–22. http://dx.doi. org/10.2307/540078 Lewis, George. 1943a. ‘George Lewis and his New Orleans Stompers, Vol. 1—Echoes of New Orleans’. Blue Note LP 7010. —1943b. ‘George Lewis and his New Orleans Stompers, Vol. 2—Echoes of New Orleans’. Blue Note LP 7013. Maines, David. 1982. ‘In Search of Mesostructures: Studies in the Negotiated Order’. Urban Life 11: 267–79. Marquis, Don. 2005. In Search of Buddy Bolden, rev. ed. Baton Rouge, LA: Louisian University Press. Martyn, Barry. 1972. ‘Barry Martyn at Large’. Footnote 3.3 (February): 16–23. —1998. New Orleans Jazz: The End of the Beginning. New Orleans: Jazzology Press. McKay, George. 2005. Circular Breathing: The Cultural Politics of Jazz in Britain. Durham, NC: Duke University Press. Melly, George. 1984. ‘Ken Colyer and the First Traditional Jazz Band’. Available at http://www. youtube.com/watch?v=PYxok6qb6M4, from ‘Whatever Happened to Bill Brunskill?’, Thames TV. Authenticity as authenticating 51 {\circledC} Equinox Publishing Ltd 2013. Merriam, Alan P., and Fradley H. Garner. 1998. ‘Jazz—the Word’. In The Jazz Cadence of American Culture, ed. Robert G. O’Meally, 7–31. New York: Columbia University Press. Mills, Grayson. 1960. ‘New Orleans Music: Root, Bone and Marrow, Flower: A Report on Icon Records’ Objectives and Realities’. Jazz Report 1.4 (December): 13. Monaco, Jeanette. 2010. ‘Memory Work, Autoethnography and the Construction of a Fan- Ethnography’. Participations: Journal of Audience and Reception Studies 7.1: 105–42. Moore, Allan. 2007. ‘Authenticity as Authentication’. In Critical Essays in Popular Musicology, ed. Allan F. Moore, 131–45. Aldershot: Ashgate. Moore, Hilary. 2007. ‘Ken Colyer and the Trad Jazz Movement: Class, Authenticity and the Nostalgic Imagination’. In Hilary Moore, Inside British Jazz: Crossing Borders of Race, Nation and Class, 37–65. Aldershot: Ashgate. Ogren, Kathy. 1989. The Jazz Revolution: Twenties America and the Meaning of Jazz. New York: Oxford University Press. Panassi{\'e}, Hugues. 1942. The Real Jazz. New York: Smith and Durrell. Pawson, Dan. 2001a. ‘Dan Pawson’. In Mike Burns, The Great Olympia Band, 83–89. New Orleans: Jazzology Press. —2001b. ‘Repertoire’. Letter to the Editor. New Orleans Music 9.4: 13–14. Pickering, Michael, and Emily Keightley. 2006. ‘The Modalities of Nostalgia’. Current Sociology 54.6: 919–41. http://dx.doi.org/10.1177/0011392106068458 Pointon, Mike, and Ray Smith. 2010. Goin’ Home: The Uncompromising Life and Music of Ken Colyer. London: The Ken Colyer Trust. Raeburn, Bruce Boyd. 2009. New Orleans Style and the Writing of American Jazz History. Ann Arbor: University of Michigan Press. Ramsey, Jr., Frederic, and Charles Edward Smith. 1939. Jazzmen. New York: Harcourt. Ramsey, Jr., Guthrie P. 1996. ‘Cosmopolitan or Provincial?: Ideology in Early Black Music Historiography, 1867–1940’. Black Music Research Journal 16.1: 11–42. http://dx.doi. org/10.2307/779375 Rossiter, P. 1955. ‘The Revivalists’. In Jazzbook 1955, ed. Albert J. McCarthy, 49–64. London: Cassell. Russell, William. 1940. ‘Delta—New Orleans’. HRS Society Rag, October, 28–30. Shipton, Alyn. 2007. A New History of Jazz, revised and updated ed. New York: Continuum. Shuker, Roy. 2005. Popular Music: The Key Concepts, 2nd ed. London: Routledge. Smith, Charles Edward. 1930. ‘Jazz: Some Little Known Aspects’. Symposium: A Critical Review 1 (October): 502–17. —1935. ‘Heat Wave’. Stage, September: 45–46. Smith, Charles Edward, with Frederic Ramsey, Jr., Charles Payne Rogers and William Russell. 1943. The Jazz Record Book. New York: Smith and Durrell. Smits, Guus, and Gerard Bielderman. 2010. A Discography of Kid Thomas Valentine. Zwolle, The Netherlands: Gerard Bielderman. Stewart, Jack. 2005–2006. ‘The Original Dixieland Jazz Band’s Place in the Development of Jazz’. Jazz Archivist 19: 16–25. Suhor, Charles. 2001. ‘New Orleans Jazz with a Foreign Accent’. In Charles Suhor, Jazz in New Orleans: The Postwar Years through 1972, 187–91. London: Scarecrow Press; Rutgers: State University of New Jersey. Thornton, S. 1995. Club Cultures: Music, Media and Subcultural Capital. London: Polity Press. Turner, Frederick. 1994. Remembering Song: Encounters with New Orleans Jazzmen, expanded ed. New York: Da Capo Press. Unruh, David. 1979. ‘Characteristics and Types of Participation in Social Worlds’. Symbolic Interaction 2.2: 115–29. http://dx.doi.org/10.1525/si.1979.2.2.115 Williams, Martin. 1969. Jazz Masters of New Orleans. New York: Macmillan. Wright, Laurie. 1987. King Oliver. Chigwell, Essex: Storyville Publications. Yanow, Scott. 2001. Trumpet Kings: The Players who Shaped the Sound of Jazz Trumpet. San Francisco: Backbeat Books. Zimmerman, Don H., and Melvin Pollner. 1971. ‘The Everyday World as a Phenomenon’. In Understanding Everyday Life, ed. Jack Douglas, 80–103. London: Routledge.",
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    T1 - Authenticity as authenticating—the case of New Orleans jazz revivalism: An approach from grounded theory and social world analysis

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    N1 - © Equinox Publishing Ltd 2013 Reference text: Adorno, Theodor W. 1936. ‘On Jazz’. In Theodor W. Adorno, Essays on Music, 470–95. Berkeley: University of California Press, 2002. Anon. c. 1960. ‘Sleeve Notes’. Bunk Johnson and his New Orleans Band. Brunswick, EP. OE 9257. Bell, Graeme. 1988. Graeme Bell—Australian Jazzman: His Autobiography, with discography by Jack Mitchell. Frenchs Forest, NSW: Child and Associates. Bethell, Tom. 1977. George Lewis: A Jazzman from New Orleans. Berkeley: University of California Press. —2001. ‘Booklet Notes’. Kid Howard at San Jacinto Hall, GHB, BCD-23. —2002. ‘Booklet Notes’. George Lewis at San Jacinto Hall, GHB, BCD-34. Bird, Roger. 1977. ‘Sleeve Notes’. Andrew Hall’s Band, Rampart Records, LP. RS 104. Bissonnette, Big Bill. 1992. The Jazz Crusade: The Inside Story of the Great New Orleans Jazz Revival of the 1960s. Bridgeport, CN: Special Request Books. Blesh, Rudi. 1958 [1946]. Shining Trumpets: A History of Jazz, 4th enlarged ed. London: Cassell. Blumer, Herbert. 1954. ‘What is Wrong with Social Theory?’ American Sociological Review 18: 3–10. http://dx.doi.org/10.2307/2088165 Brackett, David. 2000. Interpreting Popular Music. Berkeley: University of California Press. http://dx.doi.org/10.1525/california/9780520225411.001.0001 Brinkman, Shannon, and Eve Abrams. 2011. Preservation Hall. Photographs by Shannon Brinkman, Interviews with Preservation Hall Members by Eve Abrams. Baton Rouge: Louisiana State University Press. Broun, Heywood Hale. 1991. ‘From an Interview Done in 1991’. Booklet notes, ‘Kid Rena 1940: Prelude to the Revival, Vol. II’. American Music. AMCD-41, 5–7. Brunn, H. O. 1961. The Story of the Original Dixieland Jazz Band. London: Sidgwick and Jackson. Bryce, Owen. 2001. The George Webb Dixielanders: My Part: The First Ten Years of the British Jazz Revival, 2nd ed. Blisworth: Owen Bryce. Buchanan, John. 1996. Emperor Norton’s Hunch: The Story of Lu Watters’ Yerba Buena Jazz Band. Sausolita, CA: Hambleton. Burns, Mike, ed. 2007. Walking with Legends: Barry Martyn’s New Orleans Jazz Odyssey. Baton Rouge: Louisiana State University Press. Carter, William. 1991. Preservation Hall: Music from the Heart. New York: W. W. Norton. Charters, Samuel B. 1963. Jazz: New Orleans 1885–1963: An Index to the Negro Musicians of New Orleans. New York: Oak Publications. —2008. A Trumpet Around the Corner: The Story of New Orleans Jazz. Jackson: University of Mississippi Press. Chilton, John. 2004. ‘Pawson, Dan’. In John Chilton, Who’s Who of British Jazz, 2nd ed., 274–75. London: Continuum. Cohen, Stanley. 1973. Folk Devils and Moral Panics. London: MacGibbon and Kee. Colyer, Ken. 1952a. ‘Letter to Bill Colyer, 3 December 1952’. In Ken Colyer, ‘Letters from New Orleans’. Ken Colyer Website. Available at http://www.kencolyer.org/ —1952b. ‘Letter to Bill Colyer, 7 December 1952’. In Ken Colyer, ‘Letters from New Orleans’. Ken Colyer Website. Available at http://www.kencolyer.org/ —c. 1960. New Orleans and Back. Produced for Ken Colyer by Arthur Brooks and Ken Pratt. Delph, Yorks. —2009. When Dreams are in Dust: The Path of a Jazzman, newly restored version. London: Ken Colyer Trust. Curran, Dale. 1947. ‘Three Brass, Four Rhythm’. In Jazzways, ed. George S. Rosenthal and Frank Zachary in collaboration with Frederic Ramsey, Jr. and Rudi Blesh, 103–109. London: Musicians Press. Davies, Russell. 1986. ‘Sleeve Notes’. ‘Humphrey Lyttelton and Russell Davies Present… Gonna Call My Children Home: The World of Buddy Bolden’. Caligraph, LP. CLGLP 013. Delaunay, Charles. 1936. Hot Discographie. Paris: Jazz Hot. DeVore, Charlie. 1998. ‘New Orleans Memories, Part 1: Interviews with Charlie DeVore’, ed. William J. Schafer. Mississippi Rag 26.2 (December): 1, 2, 4–6. Eatherton, Fred and Richard Ekins. 2012. Dan Pawson – A Discography: Dan Pawson on Vinyl, Tape, CD and DVD (1960–2002), http://www.lacroixrecords.com/DP.html. Ekins, Richard. 2008a. ‘Back on Track: The Case of the Louis James Orchestra’ [Letter to the Editor]. New Orleans Music 14.4: 25. —2008b. ‘Dan Pawson: A Tribute’. 504/La Croix CD93, booklet notes, 1–16. —2008c. ‘Pitch Monitoring, Pitch Correction and the Case of the Louis James Orchestra, 1967’. New Orleans Music 14.3: 6–14. —2009a. ‘Bob Wallis on Authenticity and the New Orleans Jazz Revival in Britain’. Just Jazz 138 (October): 22–27. —2009b. ‘Dan Pawson: Living the Legend’, 504/La Croix, CD96, booklet notes, 1–16. —2010. ‘Traditional Jazz and the Mainstreaming of Authenticity: The Case of British Traddy Pop (1959–1963)—a Grounded Theory Approach’. Popular Music History 5.2: 125–50. —2011. ‘The Rediscovery and Resurrection of Bunk Johnson—a Grounded Theory Approach: A Case Study in Jazz Historiography’. The Grounded Theory Review 10.3: 27–54. Foreman, Ronald C., Jr. 1968. ‘Jazz and Race Records, 1920–1932: Their Origins and their Significance for the Record Industry and Society’. Unpublished PhD thesis. University of Illinois. Frith, Simon. 1988. ‘Playing with Real Feeling—Jazz and Suburbia’. In Simon Frith, Music for Pleasure, 45–63. Cambridge: Polity Press. Fry, Alderson, Max Caplan and William C. Love. 1942. Who’s Who in Jazz Collecting. Nashville: Hemphill Press. Gendron, Bernard. 1995. ‘“Mouldy Figs” and Modernists: Jazz at War (1942–1946)’. In Jazz Amongst the Discourses, ed. Krin Gabbard, 31–56. Durham, NC: Duke University Press. Gennari, John. 2006. Blowin’ Hot and Cool: Jazz and its Critics. Chicago: University of Chicago Press. Glaser, Barney G. 1978. Theoretical Sensitivity: Advances in the Methodology of Grounded Theory. Mill Valley, CA: Sociology Press. —1992. Basics of Grounded Theory Research. Mill Valley, CA: Sociology Press. —1996. ‘Introduction’. In Gerund Grounded Theory: The Basic Social Process Dissertation, ed. Barney G. Glaser, ix–xvii. Mill Valley, CA: Sociology Press. —2006. Flyer, Doing Formal Grounded Theory: A Proposal. Mill Valley, California: Sociology Press. Available at http://www.sociologypress.com/books/classic_series/Doing- FormalGroundedTheory.htm Glaser, Barney G., and Anselm L. Strauss. 1967. The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine. Goodey, Brian R. 1968. New Orleans to London: Twenty Years of the New Orleans Jazz Revival in Britain’. Journal of Popular Culture 2.2: 173–94. http://dx.doi.org/10.1111/ j.0022-3840.1968.0202_173.x Greenwood, Robert. 2009. ‘Dan Pawson (1936–2002): Obituary’, cited in Richard Ekins, ‘Booklet Notes’ , Dan Pawson: Living the Legend, 1971-1998, 504/La Croix, CD96, p. 13. Gronbeck, Bruce E. 2001. ‘The Idea of Structure and Communication in David Maines’ Work’. In Studies in Symbolic Interaction, Volume 24, ed. Norman K. Denzin, 7–14. Bingley: Emerald Group. Gushee, Lawrence. 2002. ‘New Orleans Jazz’. In New Grove Dictionary of Jazz, Volume Two, 2nd ed., ed. Barry Kernfeld, 887–88. New York: Grove. Hadlock, Richard. 2000. ‘The New Orleans Revival’. In The Oxford Companion to Jazz, ed. Bill Kirchner, 305–15. Oxford: Oxford University Press. Hansen, Chadwick. 1960. ‘Social Influences on Jazz Style: Chicago, 1920–30’. American Quarterly 12.4: 493–507. http://dx.doi.org/10.2307/2710331 Hardie, Daniel. 2007. The Birth of Jazz: Reviving the Music of the Bolden Era. New York: iUniverse. Hazeldine, Mike (compiled and ed.). 1993. Bill Russell’s American Music. New Orleans: Jazzology Press. Hersch, Charles. 2008. ‘Reconstructing the Jazz Tradition’. Jazz Research Journal 2.1: 7–28. Jacobsen, Thomas W. 2011. Traditional New Orleans Jazz: Conversations with the Men who Make the Music. Baton Rouge, LA: Louisiana State University Press. Johnson, Bunk. 1947. ‘Last Testament of Great Jazzman’. Columbia, LP. GL 520. Katz, Mark. 2010. Capturing Sound: How Technology has Changed Music. Berkeley: University of California Press. Ken Colyer Trust. 1989–2010. Ken Colyer Trust Newsletter. London: Ken Colyer Trust. Korner, Alexis.1962. ‘Sleeve Notes’. ‘Too Busy’, Ken Colyer’s Jazzmen. Columbia, EP. SEG 8180. LaRocca, Nick. 1960. ‘Last Will and Testament—The Story of Jazz as Told by Nick & Discussion on Bix Beiderbecke’. A Kazoo Lips Production. CD-2008. Lee, Raymond. 2001. Dan Pawson Discography. Zwolle, Netherlands: Gerard Bielderman. Leonard, Marion, and Robert Strachan. 2003. ‘Authenticity’. In Continuum Encyclopedia of Popular Music of the World, Volume 1: Media, Industry and Society, ed. John Shepherd, David Horn, Dave Laing, Paul Oliver and Peter Wicke, 164–66. London: Continuum. Levine, Lawrence W. 1988. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America: Cambridge, MA: Harvard University Press. —1989. ‘Jazz and American Culture’. Journal of American Folklore 102: 6–22. http://dx.doi. org/10.2307/540078 Lewis, George. 1943a. ‘George Lewis and his New Orleans Stompers, Vol. 1—Echoes of New Orleans’. Blue Note LP 7010. —1943b. ‘George Lewis and his New Orleans Stompers, Vol. 2—Echoes of New Orleans’. Blue Note LP 7013. Maines, David. 1982. ‘In Search of Mesostructures: Studies in the Negotiated Order’. Urban Life 11: 267–79. Marquis, Don. 2005. In Search of Buddy Bolden, rev. ed. Baton Rouge, LA: Louisian University Press. Martyn, Barry. 1972. ‘Barry Martyn at Large’. Footnote 3.3 (February): 16–23. —1998. New Orleans Jazz: The End of the Beginning. New Orleans: Jazzology Press. McKay, George. 2005. Circular Breathing: The Cultural Politics of Jazz in Britain. Durham, NC: Duke University Press. Melly, George. 1984. ‘Ken Colyer and the First Traditional Jazz Band’. Available at http://www. youtube.com/watch?v=PYxok6qb6M4, from ‘Whatever Happened to Bill Brunskill?’, Thames TV. Authenticity as authenticating 51 © Equinox Publishing Ltd 2013. Merriam, Alan P., and Fradley H. Garner. 1998. ‘Jazz—the Word’. In The Jazz Cadence of American Culture, ed. Robert G. O’Meally, 7–31. New York: Columbia University Press. Mills, Grayson. 1960. ‘New Orleans Music: Root, Bone and Marrow, Flower: A Report on Icon Records’ Objectives and Realities’. Jazz Report 1.4 (December): 13. Monaco, Jeanette. 2010. ‘Memory Work, Autoethnography and the Construction of a Fan- Ethnography’. Participations: Journal of Audience and Reception Studies 7.1: 105–42. Moore, Allan. 2007. ‘Authenticity as Authentication’. In Critical Essays in Popular Musicology, ed. Allan F. Moore, 131–45. Aldershot: Ashgate. Moore, Hilary. 2007. ‘Ken Colyer and the Trad Jazz Movement: Class, Authenticity and the Nostalgic Imagination’. In Hilary Moore, Inside British Jazz: Crossing Borders of Race, Nation and Class, 37–65. Aldershot: Ashgate. Ogren, Kathy. 1989. The Jazz Revolution: Twenties America and the Meaning of Jazz. New York: Oxford University Press. Panassié, Hugues. 1942. The Real Jazz. New York: Smith and Durrell. Pawson, Dan. 2001a. ‘Dan Pawson’. In Mike Burns, The Great Olympia Band, 83–89. New Orleans: Jazzology Press. —2001b. ‘Repertoire’. Letter to the Editor. New Orleans Music 9.4: 13–14. Pickering, Michael, and Emily Keightley. 2006. ‘The Modalities of Nostalgia’. Current Sociology 54.6: 919–41. http://dx.doi.org/10.1177/0011392106068458 Pointon, Mike, and Ray Smith. 2010. Goin’ Home: The Uncompromising Life and Music of Ken Colyer. London: The Ken Colyer Trust. Raeburn, Bruce Boyd. 2009. New Orleans Style and the Writing of American Jazz History. Ann Arbor: University of Michigan Press. Ramsey, Jr., Frederic, and Charles Edward Smith. 1939. Jazzmen. New York: Harcourt. Ramsey, Jr., Guthrie P. 1996. ‘Cosmopolitan or Provincial?: Ideology in Early Black Music Historiography, 1867–1940’. Black Music Research Journal 16.1: 11–42. http://dx.doi. org/10.2307/779375 Rossiter, P. 1955. ‘The Revivalists’. In Jazzbook 1955, ed. Albert J. McCarthy, 49–64. London: Cassell. Russell, William. 1940. ‘Delta—New Orleans’. HRS Society Rag, October, 28–30. Shipton, Alyn. 2007. 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    PY - 2012/2/1

    Y1 - 2012/2/1

    N2 - This article considers the emergence and development of New Orleans jazz revivalism in terms of a conceptual framework developed around the core category of ‘authenticating’. It developsa grounded theory of authenticating conceptualized as a ‘basic social process’ and constructs a phased trajectory of authenticating that incorporates the major sub-processes identified as‘sourcing’, ‘selecting’, ‘adopting’, ‘adapting’ and ‘progressing’ authenticity. The article sets these sub-processes within competing social worlds of jazz authenticity and purism, as they and their accompanying ideologies have variously emerged and segmented.

    AB - This article considers the emergence and development of New Orleans jazz revivalism in terms of a conceptual framework developed around the core category of ‘authenticating’. It developsa grounded theory of authenticating conceptualized as a ‘basic social process’ and constructs a phased trajectory of authenticating that incorporates the major sub-processes identified as‘sourcing’, ‘selecting’, ‘adopting’, ‘adapting’ and ‘progressing’ authenticity. The article sets these sub-processes within competing social worlds of jazz authenticity and purism, as they and their accompanying ideologies have variously emerged and segmented.

    KW - authenticating

    KW - authenticity

    KW - Dan Pawson

    KW - grounded theory

    KW - Ken Colyer

    KW - New

    KW - Orleans jazz revivalism

    KW - social worlds

    M3 - Article

    VL - 7

    SP - 24

    EP - 52

    JO - Popular Music History

    T2 - Popular Music History

    JF - Popular Music History

    SN - 1740-7133

    IS - 1

    ER -