Redefining a Genre – The Recent Collaborations between Mark-Anthony Turnage and John Scofield

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Abstract

‘Mark-Anthony has created a work (Blood on the Floor) which will stand as a future reference for written and improvised music.’ In this paper I will argue that the recent collaborations between composer Mark-Anthony Turnage and guitarist/composer John Scofield, which include the work just mentioned, Blood on the Floor and more recently, Scorched, have set new benchmarks for those working in classical/jazz fusion, often referred to as Third Stream, and in the process have redefined the genre for its time, updating the language in terms of thematic integration, harmonic sophistication, accommodation of written and improvised elements and instrumentation. I will further argue that the unique circumstances of Turnage’s compositional development and his particular set of musical influences, associations, and working relationships with musicians at the absolute peak of their profession in both the classical and jazz worlds, made him uniquely placed to write a work such as Blood on the Floor.
LanguageEnglish
Title of host publicationUnknown Host Publication
Number of pages0
Publication statusPublished - 12 Mar 2005
EventLeeds International Jazz Conference - Leeds, England
Duration: 12 Mar 2005 → …

Conference

ConferenceLeeds International Jazz Conference
Period12/03/05 → …

Fingerprint

Blood
Jazz
Composer
Musicians
Instrumentation
Sophistication
Harmonics
Accommodation
Music
Guitarist
Thematic
Benchmark
Fusion
Language
Musical Influences

Keywords

  • Turnage
  • Scofield

Cite this

@inproceedings{64803f86019f4944b701b74ff49a87f1,
title = "Redefining a Genre – The Recent Collaborations between Mark-Anthony Turnage and John Scofield",
abstract = "‘Mark-Anthony has created a work (Blood on the Floor) which will stand as a future reference for written and improvised music.’ In this paper I will argue that the recent collaborations between composer Mark-Anthony Turnage and guitarist/composer John Scofield, which include the work just mentioned, Blood on the Floor and more recently, Scorched, have set new benchmarks for those working in classical/jazz fusion, often referred to as Third Stream, and in the process have redefined the genre for its time, updating the language in terms of thematic integration, harmonic sophistication, accommodation of written and improvised elements and instrumentation. I will further argue that the unique circumstances of Turnage’s compositional development and his particular set of musical influences, associations, and working relationships with musicians at the absolute peak of their profession in both the classical and jazz worlds, made him uniquely placed to write a work such as Blood on the Floor.",
keywords = "Turnage, Scofield",
author = "Frank Lyons",
year = "2005",
month = "3",
day = "12",
language = "English",
booktitle = "Unknown Host Publication",

}

Lyons, F 2005, Redefining a Genre – The Recent Collaborations between Mark-Anthony Turnage and John Scofield. in Unknown Host Publication. Leeds International Jazz Conference, 12/03/05.

Redefining a Genre – The Recent Collaborations between Mark-Anthony Turnage and John Scofield. / Lyons, Frank.

Unknown Host Publication. 2005.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

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AB - ‘Mark-Anthony has created a work (Blood on the Floor) which will stand as a future reference for written and improvised music.’ In this paper I will argue that the recent collaborations between composer Mark-Anthony Turnage and guitarist/composer John Scofield, which include the work just mentioned, Blood on the Floor and more recently, Scorched, have set new benchmarks for those working in classical/jazz fusion, often referred to as Third Stream, and in the process have redefined the genre for its time, updating the language in terms of thematic integration, harmonic sophistication, accommodation of written and improvised elements and instrumentation. I will further argue that the unique circumstances of Turnage’s compositional development and his particular set of musical influences, associations, and working relationships with musicians at the absolute peak of their profession in both the classical and jazz worlds, made him uniquely placed to write a work such as Blood on the Floor.

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