"Rhythmic Refrains: Counting Time through Duke Ellington and Fred Waller's Jazz Shorts"

In the 1920s and 1930s, Duke Ellington collaborated with several directors who narrativized his compositions for short films; Ellington's collaborations A Bundle of Blues (1933) and Symphony in Black (1935) with Fred Waller, Paramount's special‐effects man turned director, remain just out of step with the many other jazz shorts from the period. While synchronization was well‐utilized by the time Ellington and Waller's films were released, their films are notable for the absence of synchronized tap sounds.

#jazz #1930s

https://read.dukeupress.edu/liquid-blackness/article/7/2/28/382446

https://void.cat/d/Dg7SNCsCs9Sb4q21o3Yd5.webp

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Beautiful— this piece caught me scrolling & I should be reading— glad. Love when people take the time to explore in depth the art that inspires them.

Pittsburgh’s Frick Museum had a Bearden exhibit about a year ago as well. Enjoyed this part: “Liquidity and jazz aesthetics are knitted closely, as Toni Morrison asserts when describing Romare Bearden's jazz-inspired collages as having borders that are “not just porous they are liquid.”3 In a different context, Gilles Deleuze describes “liquid perception” as “a clairvoyant function . . . developed in water, in opposition to earthly vision: it is in the water that the loved one who has disappeared is revealed, as if perception enjoyed a scope of interaction, a truth which it did not have on land.”4

Now it's my turn to ponder. Wow.