Editorial

The publication of the inaugural issue of the new Journal for Artistic Research in Jazz (ARJAZZ) comes parallel to a period of anchoring the discipline of Artistic Research. Especially the art form jazz with its focus on process and collaboration forges unique directions of combining theory and practice. Discourses between people, practices, beliefs, concepts and contexts, rooted in African American traditions have evolved into a global practice of music-making. The dance music of the early 20^th Century moved into the concert halls, and the field of jazz studies has become an academic discipline. Jazz pedagogy and jazz research were shaped by and adapted to academic standards; however, the essence of jazz is the creative process and musical interaction. This process of standardization at times collides with the artistic process and knowledge creation through artistic research can bridge the gap.

ARJAZZ does not impose a specific definition of jazz but emphasizes its hybridity. It aims to broaden the perspective of what jazz has been in the past, what it represents today and what it may become in the future. Jazz is understood as an umbrella term for musical practices that encompass creative music-making that draws from and expands upon a variety of musical and cultural traditions, ranging from high art to grassroots popular music. The rise of artistic research in Europe is intrinsically linked to institutional policies following the 1999 Bologna Declaration, however knowledge production in and through artistic practice was not an entirely new concept in academia nor jazz. Throughout history, we see traces of the inherently deep connections between different forms and modes of knowledge, bridging the contentious gap between theory and practice. Initially, academic jazz departments were established by practitioners who shared their experiences, networks, and musical mastery as role models and mentors. George Russell was able to formulate his influential theory concepts because he was a practitioner, and his theory was the result of engaging in a cycle of creation – performance – reflection. Consequently, the ABCs of Jazz Education, Jamey Aebersold, David Baker, and Jerry Coker, were pivotal in creating curricula and written materials, deeply rooted in their own artistic practice.

At the same time, jazz performers expanded approaches of music making and consumption globally, shaping the foundation of the current music industry.  The process of creating knowledge about the art form jazz and its pedagogy currently spans the trajectory of common research approaches. In line with the recent paradigm change regarding epistemologies in academia, jazz practice is an increasingly important model for reflection and communication. Composing, arranging, songwriting, performing, improvising, curating, transcribing, and reflecting are at the core of artistic research in and through jazz practice. Furthermore, the artist’s agency in the artistic process and through the artistic results guide the research process.

Jazz is trans- and interdisciplinary, and practiced outside and within academia. Likewise, artistic research in jazz is an open-ended endeavor that draws from various traditions of practice and theory with a definition that is fluid and dynamic. As we prepare for the challenges of the 21st century, artistic research in jazz has the potential to advance and develop the very essence of jazz.

ARJAZZ is not a radical endeavor but a response to academic and artistic needs. It offers a platform for sharing, discourse and artistic growth for individuals and collectives. It ensures quality according to jazz-specific academic standards and fosters the exploration of questions inside, within, and outside of the music. ARJAZZ is designed to provide a safe space of expression ensuring principles of inclusion, equity and diversity in the broadest sense. It welcomes contributions in all forms, the perspectives of individuals and collectives at all academic levels as well as participatory and citizen-based research endeavors.

The International Network for Artistic Research in Jazz (INARJ) has been instrumental in envisioning and creating this platform. For this inaugural issue a steering committee of INARJ members was formed with editors from a variety of artistic and academic backgrounds. The selection of potential contributors was based on the above-mentioned standards and highest levels of expertise. All expositions are peer-reviewed according to standards developed by the larger communities in artistic research, with considerations of idiosyncrasies of jazz practices and inherent ramifications regarding quality assurance. A larger pool of review board members has been assigned to comment on the individual submissions in a single blind review process. A final opportunity of dialogue between authors and steering committee was pivotal for quality assurance.

The four expositions of this inaugural edition of ARJAZZ demonstrate the diversity of current approaches to artistic research in jazz. Andrew Bain is a drummer and music educator from Scotland, currently serving as Head of Jazz at the Royal Welsh College of Music and Drama. His exposition documents the “evolution of a set of improvised performances that explored Empathic Speculation in both live and studio settings”, building on and extending Bain’s artistic doctoral work. Matthias Heymann is a bassist from Belgium, currently working as Assistant Professor at Vrije Universiteit Brussel (VUB) and Senior Researcher at Koninklijk Conservatorium Brussel (KCB). His inquiry on Jimmie Blanton’s bass sound uses the method of reenactment through a recording session with the Brussels Jazz Orchestra in combination with historical investigations. Both, pianist Piergiorgio Pirro and guitarist Marteen Stragier are also based in Brussels. Pirro is a doctoral candidate at KCB and Stragier serves as senior researcher at KCB and research professor and lecturer at the VUB. Their exposition investigates theoretical models and paradigms from spectralism in the context of a jazz quartet setting. Emma Hedrick is a recent graduate from the Royal Conservatoire, The Hague and a seven-time DownBeat Award winner. In her exposition, she explores and explicates how encounters with six creativity exercises drawn from the disciplines of writing, choreography and the visual arts can lead to new approaches to jazz composition.

We hope that the knowledge generated through the Journal for Artistic Research in Jazz (ARJAZZ) supports artists, researchers, and audiences, within and beyond the communities of jazz, popular music and artistic research. As the INARJ community continues to grow, future editions of ARJAZZ will be peer-reviewed collections of contributions submitted in response to open calls. We would like to thank the members of the steering committee, peer reviewers as well as all INARJ symposia participants for their ongoing support, without which this journal would not be possible. Further gratitude is deserved by their institutions who contributed through financial support and the availability of working hours.

Michael Kahr, Monika Herzig and Mike Fletcher