Matthias Heyman | Koninklijk Conservatorium Brussel (original) (raw)

Papers by Matthias Heyman

Journal for Popular Music Studies, 2021

Beatles tributes come in many forms and guises, but look-alikes are arguably the most popular typ... more Beatles tributes come in many forms and guises, but look-alikes are arguably the most popular type. Because of their focus on replicating the band's iconic costumes and hairdo, they usually limit themselves to an easily reproducible core repertoire, forgoing the elaborate post-1966 studio productions. By contrast, sound-alikes strive for complete aural accurateness, often recreating the heavily produced compositions the Beatles never performed outside of the studio. One of the industry’s top-tier Beatles sound-alikes are the Analogues. Neglecting all mimetic visual effects, they re-animate the albums created after 1966, using the same orchestrations and instrumentations as the Beatles, including rare vintage instruments such as the Mellotron.

Their approach bears parallels to historically informed performance (HIP), a common practice in Early Music, yet it operates within an entirely different framework. Informed by sound recordings, the Analogues deconstruct and re-record the Beatles’ music to construct their own performance, in the process conceiving a modern technology-based type of HIP. This article begins by establishing a typology of Beatles tributes before examining the process of staging an Analogues performance. It argues that the Analogues’ approach to historical recreation allows them to transcend criticism typically aimed at tributes and, paradoxically, lay claim to an “authentic” performance of what is inherently inauthentic, a live imitation of a recording. Overall, this article demonstrates how HIP can be used effectively outside of its mainstream classical context as a tool for popular music researchers and performers.

Popuar Music, 2020

This article focuses on a series of regional, national and international jazz competitions organi... more This article focuses on a series of regional, national and international jazz competitions organised by the Jazz Club de Belgique between 1932 and 1939. In the early 1930s, contests for amateur jazz bands began to emerge in various European countries such as the UK, the Netherlands, and Belgium. Using the Belgian competitions as a case study, this article demonstrates that these were instrumental in the development of certain local jazz scenes, not only by offering budding talents an opportunity to be discovered, but more importantly in establishing a much-needed network of amateur and professional musicians, intermediaries, critics and fans. Furthermore, the argument is made that these events foreshadowed the first European jazz festivals to appear in the 1950s. Overall, it aims to demonstrate that the jazz contest is a valuable yet under-researched site for the promotion, socialisation, mediation, dissemination and popularisation of this music.

Rock Music Studies, 2020

Beatles tribute bands offer a make-believe substitute for the "emotional vacuum" left by the band... more Beatles tribute bands offer a make-believe substitute for the "emotional vacuum" left by the band's breakup in 1970. Among the best-known acts are the Bootleg Beatles, who since 1980 have toured the world with elaborate shows consisting of appropriate costumes, hairdos, and Scouse-accented banter. By contrast, the Analogues approach such reenactment quite differently. Downplaying visual mimesis, they strive for complete aural accuracy. This essay compares both tribute bands' approaches to reconstructing The White Album, discussing how they aim to reanimate a fictionalized past in an authentic manner: the Bootleg Beatles to witness an imaginary Beatles performance, the Analogues to hear music that was never meant to be heard live.

Jazz Perspectives, 2019

Throughout his career, Duke Ellington (1899-1974) has been partial to the deep sounds of the bass... more Throughout his career, Duke Ellington (1899-1974) has been partial to the deep sounds of the bass, as evidenced by records ranging from "East St. Louis Toodle-Oo" (1926) to "Portrait of Wellman Braud" (1970). He always made sure he had the finest bassists at his disposal, and used them to good advantage, not merely as accompanists or soloists, but also by having them provide counterpoint, double melodic lines, add percussive effects, etc. It can even be argued that although he did not play the string bass, Ellington was instrumental to its development. This article discusses the compositional devices and strategies Duke used to explore new approaches to the bass function between 1925 and 1941, and reveals how he in the process helped define its role in jazz.

This essay is organized in three parts, starting with an examination of how Duke used his earliest bassists, most notably Wellman Braud (1891-1966). Next, it focuses on the bass duos he employed between 1935 and 1939, in particular the pairing of Billy Taylor (1906-1986) and Hayes Alvis (1907-1972). The final part will be dedicated to Jimmie Blanton (1918-1942), generally seen as one of the most influential bassists in jazz history. Yet, Ellington's compositional role in establishing him as a major jazz figure remains strangely overlooked. Overall, this article will demonstrate the extensive impact Ellington's innovative and influential composing had on the string bass, its performers, and its approach by other composers and arrangers from the 1920s to the 1940s.

Blue Light, 2018

In order to celebrate jazz bass player Jimmie Blanton's centenary, Ian Bradley and myself wrote a... more In order to celebrate jazz bass player Jimmie Blanton's centenary, Ian Bradley and myself wrote an article for Blue Light, the member magazine of the Duke Ellington Society of the United Kingdom (DESUK). In particular, I aim to debunk a number of myths or misunderstandings that continue to circulate. (NOTE: the full article is only available in the autumn 2018 edition of Blue Light, see http://dukeellington.org.uk/bluelight.shtml#2018)

Jazz Research Journal (Extended Play section), 2017

This essay discusses a unique collage made by Louis Armstrong based on a rather abstract visual r... more This essay discusses a unique collage made by Louis Armstrong based on a rather abstract visual representation of Brussels, the capital of Belgium. My exploration of the peculiar visual signifiers of this collage from the early 1970s reveals a surprising connection between Armstrong on the one hand, and a handful of modernist, surrealistic Belgian painters, such as Paul Delvaux and René Magritte.

CONTINENTAL DRIFT 50 years of jazz from Europe: July 2016 - Conference Proceedings

Meer Dan Jazz - editor Stef Slembrouck, May 3, 2017

A cursory, historical overview of the mutual influence between jazz and technology, ranging from ... more A cursory, historical overview of the mutual influence between jazz and technology, ranging from the impact industrialization had on ragtime, to the effects of the World Wide Web on today's jazz, making stops at the recording, the radio, the recording studio, globalization,...

Jimmie Blanton (1918-1942), best known for his tenure with Duke Ellington between 1939 and 1941, ... more Jimmie Blanton (1918-1942), best known for his tenure with Duke Ellington between 1939 and 1941, is by many considered to be one of the most influential bassists in jazz history. He has been widely studied, resulting in a paradigmatic depiction of his life and music. But a closer look reveals that all studies on Blanton focus on a single year, from November 1939 and November 1940, of his six-year career as a performer. Thus, a paradox is born. While many believe to profoundly understand Blanton’s music through the writings that abound, many of its aspects remain ‘hidden’, and only a partial and unnuanced narrative of this musician surfaces. Using 1941, Blanton’s final year with Ellington, as a case study, I will unravel the reasons, several of which are extra-musical, behind this period’s omission and detail its far-reaching consequences, which continue to pervade literature on the bassist to this day.

A historical survey of the Belgian jazz magazine 'Music,' which appeared between 1924 and 1939. T... more A historical survey of the Belgian jazz magazine 'Music,' which appeared between 1924 and 1939. This article also touches upon various significant events in Belgium's jazz history in the Interwar period, in particular the creation of the Jazz Club de Belgique (1932), the organization of various (inter)national jazz competitions (1932-1939), and the first Belgian jazz recordings (1925/1927).

This article explores how iconography can be a useful analytical tool, and in the process help to... more This article explores how iconography can be a useful analytical tool, and in the process help to demystify the lives and music of so-called jazz icons. I will start by illustrating how a narrative around jazz bassist and Ellingtonian Jimmie Blanton (1918-1942) grew that posits him as an artistic hero in the pantheon of jazz history. Next I will highlight some problems that arise with such canonization and examine two case studies focused on Blanton, one based on statements historian Gunther Schuller made in regard to the bassist’s right hand posture, and a second one focusing on his tone in relation to his physical position within the Duke Ellington Orchestra. In both cases visual sources are used to gain a better understanding of Blanton’s performance technique, which in turn aids to nuance his iconic framing.

Nieuwsbrief Resonant (News Lettre Resonant), Sep 24, 2014

In this short article (in Dutch only) for the Flemish music heritage organization Resonant, I con... more In this short article (in Dutch only) for the Flemish music heritage organization Resonant, I contextualize the Belgian jazz periodical 'Music,' and the role it played for the jazz scene in Interwar Belgium

Conference Presentations by Matthias Heyman

Damien Chazelle’s 2014 film Whiplash has received widespread critical acclaim, culminating in the... more Damien Chazelle’s 2014 film Whiplash has received widespread critical acclaim, culminating in the awarding of three Academy Awards. However, within the jazz community, the response has been rather lukewarm, with praise for the film’s aesthetics, but little appreciation for the representation of jazz and its practitioners.

Whiplash centres on the abusive relationship between student-drummer Andrew Neiman (Miles Teller) and teacher-bandleader Terence Fletcher (J.K. Simmons), as they both strive for musical perfection, whatever the emotional and physical cost.

While much attention has been devoted to the film’s (mis)representation of jazz pedagogy, I focus on the framing of jazz competitions. Critical moments in the protagonists’ relationship coincide with three fictional contests. Neiman wins the coveted seat of core drummer in the first competition, only to lose it again in the second one, even abandoning music altogether. The film’s climax, where Neiman confronts Fletcher, is not an actual contest but is presented as an audition of sorts before an industry-connected audience.

After sketching the history of collegiate jazz competitions, I examine how Whiplash’s competitions compare to their non-filmic counterparts. I highlight particular aspects such as gender and race, and consider these in the real-life context of competitions such as Essentially Ellington (US) or Generations
in Jazz (AU). Overall, I argue that the representation of contests is more nuanced than that of education; some elements are rooted in reality, whereas others are exaggerated or simplified for the narrative’s sake. Nevertheless, the net result remains: the audience’s understanding of jazz pedagogy and competitions is equally flawed.

The past century has seen the gradual rise of an interest in the historical recreation of Western... more The past century has seen the gradual rise of an interest in the historical recreation of Western classical music. Music specialists have been performing music from the Baroque and earlier eras in what was believed to be its “correct” historic context, a practice known as historically informed performance (HIP). In the last decades, HIP was adopted to more recent musical styles, including 20th century “jazzy” compositions such as Gershwin’s Rhapsody in Blue (1924), but in popular music, it is not (yet) an established practice. There is a host of tribute acts dedicated to rock’s canonical repertoire, but bands that attempt to fully recreate a historical performance are scarce.

Worldwide, there are over 600 (semi-)professional Beatles tribute bands, but most focus on a core repertoire that is easily reproducible on stage (Inglis 121). Therefore, many key Beatles compositions are never performed live, in particular those of the post-1966 albums. This is not surprising given that the complex combination of instrumentation, orchestration, and arrangement, often painstakingly constructed track by track in the studio over several weeks’ time, is unattainable to reconstruct live for most tributes.
“Within You Without You,” a Harrison composition from Sgt. Pepper (1967) is an excellent case in point. Due to its rhythmic complexities and its hybrid instrumentation, including various Indian instruments and an 11-part string section, it is rarely covered by Beatles tributes. Yet, The Bootleg Beatles, The Fab Faux, and The Analogues, three top-tier tribute acts, have performed this song in concert.

In this presentation, I undertake an in-depth auditory comparison of these three bands’ versions, not to favour one over the other but to reveal the similarities and differences in their recreations of this particularly challenging work. In the process, I discuss their respective approaches, illustrating the potential that historical recreation has for The Beatles’ music.

In 1967, the Belgian drummer and historian Robert Pernet (1940–2002) published Jazz in Little Bel... more In 1967, the Belgian drummer and historian Robert Pernet (1940–2002) published Jazz in Little Belgium, a first attempt at a historical overview and discography of jazz in Belgium. In the following decades, Pernet kept collecting relevant discographic data, eventually resulting in the Belgian JAZZ Discography, a book that lists over 4,370 recording sessions made between 1897 and 1999 involving at least one Belgian jazz musician. This monumental work—around 830 pages—appeared as a limited edition only, and is now out-of-print. In 2018, CEMPER, the Flemish Centre for Music and Performing Arts Heritage, initiated a project that aimed at designing a framework through which the value of Belgian jazz heritage could be documented. Several approaches were considered, but ultimately it was decided that Pernet’s Belgian JAZZ Discography was to be the focal point, transforming it into a virtual, online record collection.

In this presentation, we review this project’s process and procedures, particularly focusing on the transformation of the physical discography into a virtual (in a Deleuzian sense) collection that allowed extensive assessment by an expert committee using certain parameters such as historical value or educational purpose. A number of opportunities and challenges that arose from this assignment, ranging from the more philosophical (why does such heritage needs to be valued?) to the more practical (how can this book be made accessible again?), are discussed as well. Overall, this case study addresses some fundamental issues relating to jazz, in particularly in the ways it can be valued, preserved, and documented.

I will begin this presentation with a historical overview of jazz competitions, discussing some of the various functions these have fulfilled, for example by providing budding musicians much-needed access to a network of professionals, critics, and fans. Next, I focus on two of the oldest on-going jazz contests worldwide: the B-Jazz International Contest (Belgium, 1979) and the Herbie Hancock International Jazz Competition (U.S., 1987),
Employing semi-structured interviews with the contest organisers and judges, thematic analysis of recent promotional texts, and non-participant observation, I examine how both tournaments explicitly or implicitly mediate certain cultural meanings and values, in particular relating to authenticity and ownership. In the process, I demonstrate how these competitions aid to the global circulation of jazz through their international ‘cast’ of contenders and adjudicators. Overall, this paper reveals how contests offer a fruitful field for further enquiry, not only on the level of cultural mediation, but also relating to education, tourism, and economy.

With more than 600 (semi-)professional tribute bands worldwide, The Beatles are the most frequent... more With more than 600 (semi-)professional tribute bands worldwide, The Beatles are the most frequently imitated pop band (Inglis in Homan 2006, p. 121). While they come in many forms and guises, most such tribute bands have at least two things in common: (1) they limit themselves to the ‘hits’ that are relatively easy to reproduce, i.e., the repertoire The Beatles themselves performed live before they decided, in August 1966, to stop touring; (2) they emphasize The Beatles’ visual aspects, reproducing the appropriate costumes and hairdo, down to on-stage mannerisms and Scouse banter. In doing so, such bands, with The Bootleg Beatles and Rain as notable examples, offer their audiences a much-desired commodity: the possibility to first-hand ‘witness’ a Beatles show.
By contrast, the Dutch band The Analogues approach such re-enactment quite differently. They focus on the music created after 1966, which relied heavily on intricate studio techniques and elaborate arrangements that due to productional and economic constraints are difficult to recreate live. Just like their American counterparts, The Fab Faux, The Analogues disregard all mimetic visual effects. However, while the former resort mainly to digital synthesizers to achieve the more complex sonic textures and timbres, the latter strive for complete aural accurateness by using the exact same analogue instrumentation as The Beatles did, including rare vintage instruments such as the Lowry Heritage Deluxe, the Mellotron MK11, the dilruba, and not in the least the blacksmith’s anvil. In doing so, they offer their audiences a different commodity: the possibility to finally hear the six last studio albums performed live in their exactitude.

This presentation will consider The Analogues’ rendition of Abbey Road to explore how historically informed performance practice (HIPP) is used in an experimental manner outside of its more traditional realm of Classical music. While the band employs certain methods similar to those used in mainstream HIPP contexts, such as iconographical analysis, it operates within an entirely different framework, foregrounding recorded rather than notated music. The Analogues deconstruct and re-record The Beatles’ music in order to construct their performance ‘from scratch.’ Guided by their own experience as pop/rock musicians, they rely primarily on music software such as Pro Tools in order to (re)create the various parts, in notated or oral form. Informed by semi-structured interview with the band members and non-participant observations of their rehearsals, this presentation will focus on Abbey Road, unravelling The Analogues’ entire recreation process with special attention for the album’s unique features, such as the sophisticated vocal harmony and the early experimentation with the Moog synthesizer.

As Neil Harrison, who once played John Lennon’s part in The Bootleg Beatles, said: ‘our job is to... more As Neil Harrison, who once played John Lennon’s part in The Bootleg Beatles, said: ‘our job is to convince people … that we’re the Beatles’ (Inglis 2003: 128). In order to successfully achieve this, tribute bands rely on a number of visual and aural codes to fabricate a narrative that allows an audience to accept the artists before them as ‘genuine’ versions of their idols. The Bootleg Beatles, for example, uses appropriate costumes and hairdo in combination with on-stage Scouse banter. By contrast, The Analogues, a Beatles tribute band that only performs the post-1966 studio albums, downplays all mimetic effects and aims for complete aural accurateness, for example by using the entire range of vintage gear.

In this presentation I discuss how The Bootleg Beatles and The Analogues each construct a distinct narrative to reanimate the nostalgic past in an ‘authentic’ manner. In doing so, both offer Beatle fans much-desired yet different commodities: The Bootleg Beatles to first-hand ‘witness’ a Beatles show, The Analogues to finally hear the six last studio albums performed live ‘for the first time’. Overall, this presentation aims to demonstrate how tribute bands employ narrative elements to construct a brand identity and attract a wide following.

Journal for Popular Music Studies, 2021

Popuar Music, 2020

Rock Music Studies, 2020

Jazz Perspectives, 2019

Blue Light, 2018

Jazz Research Journal (Extended Play section), 2017

CONTINENTAL DRIFT 50 years of jazz from Europe: July 2016 - Conference Proceedings

Meer Dan Jazz - editor Stef Slembrouck, May 3, 2017

Nieuwsbrief Resonant (News Lettre Resonant), Sep 24, 2014

While The Beatles ceased to exist in 1970, you can still see them live in the form of cover bands... more While The Beatles ceased to exist in 1970, you can still see them live in the form of cover bands. These come in many forms and guises, from the zany parody The Rutles to the all-female The Sheatles, but most focus on the appropriate costumes, hairdo and Scouse accent. In this talk, I compare two celebrated tributes, The Bootleg Beatles and The Analogues, and discuss how they aim to reanimate the nostalgic past in an ‘authentic’ manner using very different means to an end. As such, I illustrate why we are so eager to see imitations of our favourite artists, and ultimately, why tribute bands matter.

‘Competitions are for horses, not for artists’, Hungarian composer Béla Bartók reportedly once sa... more ‘Competitions are for horses, not for artists’, Hungarian composer Béla Bartók reportedly once said. While many might share this opinion (e.g., see the heated debate triggered by Ethan Iverson’s 2012 blogpost), it cannot be denied that today, jazz competitions are an integral part of many a music scene. With a history dating back to the 1920s, they now are to be found throughout the world in all forms and guises, and for all levels. Due to this high level of visibility, such tournaments can act as a powerful context for (re)producing, challenging, or disrupting certain cultural meanings and values.
I will begin this presentation with a historical overview of jazz competitions, discussing some of the various functions these have fulfilled, for example by providing budding musicians much-needed access to a network of professionals, critics, and fans. Next, I focus on two of the oldest on-going jazz contests worldwide: the B-Jazz International Contest (Belgium, 1979) and the Thelonious Monk International Jazz Contest (U.S., 1987).
Employing semi-structured interviews with the contest organisers and critical discourse analysis of recent promotional texts, I examine how both tournaments explicitly or implicitly mediate certain cultural meanings and values, in particular relating to authenticity and ownership. In the process, I demonstrate how these competitions aid to the global circulation of jazz through their international ‘cast’ of contenders and adjudicators. Overall, this paper reveals how contests offer a fruitful field for further enquiry, not only on the level of cultural mediation, but also relating to education, tourism, and economy.

Jimmie Blanton (1918—42), best known for his tenure in Duke Ellington’s famed jazz orchestra betw... more Jimmie Blanton (1918—42), best known for his tenure in Duke Ellington’s famed jazz orchestra between 1939 and 1941, is generally seen as one of the most influential bassists in jazz history. One of the qualities he has been most praised for is his tone, in particular its volume, which has been characterised as ‘outsized’, ‘resonant’, ‘roaring’, and ‘huge’. While jazz scholar Brian Priestley (2009: 85) observed that tone is often ‘thought of as god-given’, I wanted to understand why and how Blanton’s tone was (perceived as being) different from that of his peers. I examined a number of possible impact factors, such as his performance technique and his instrument, but found that none of these differed significantly from those of his fellow-bassists. Eventually, I (partially) found the answer by recreating Blanton’s music.

In this paper, I will discuss a recording session by the Brussels Jazz Orchestra and myself on bass in which we recreated the circumstances of an Ellington performance in the 1930s and 1940s, both live and in the studio, in a historically informed way, for example by using a historically appropriate instrumentation, repertoire, location, recording set-up, and performance practice. The outcome revealed that certain changes in the orchestra’s seating plan were key to Blanton’s perceived superior tone. I will review the preparation, recording process, and results, drawing on a combination of visual analysis of historical photographs, complete participant observation, comparative auditory analysis, and formal and informal (semi-structured) interviews with a number of the participants. Overall, I will demonstrate that the concept of historically informed performance practice is a useful, yet underused research tool in the field of jazz and popular music studies.

Jazz competitions can be found throughout much of the world, each with a specific scope and focus... more Jazz competitions can be found throughout much of the world, each with a specific scope and focus: from soloist to big band, from amateur to professional, from local to global. Annually, the most prestigious ones attract hundreds of contenders of whom a few are selected to perform in front of an audience of aficionados and adjudicators comprising high-profile jazz artists and representatives of the media and the creative and cultural industries. As such, jazz contests have a high level of visibility, which allows them to act as a powerful context for imposing, challenging, or disrupting certain cultural values. With this in mind, such competitions contribute to documenting the various meanings, values, and receptions of jazz within a specific region and time frame.
In this paper, I explore one of the oldest on-going jazz contests worldwide, the B-Jazz International Contest (formerly: Jazz Hoeilaart), which was first organised in Belgium in 1979. By addressing various material and non-material texts, such as contest regulations and performance context, it becomes possible to gain an insight into how such values as authenticity, identity, ownership, and high/low culture are mediated and propagated through this competition. Employing critical discourse analysis and non-participant observation as the main methods, I survey several modes and assorted texts on a written, visual and auditory level, and reveal how these help to (re)produce certain values about jazz, not only on a regional level, but also internationally. Overall, this paper demonstrates the importance of jazz contests in documenting music cultures.

In October 2014, the New York-based jazz band Mostly Other People Do the Killing (MOPDTK) release... more In October 2014, the New York-based jazz band Mostly Other People Do the Killing (MOPDTK) released "Blue", an allegedly ‘note-for-note recording’ (Moppa 2014) of Miles Davis’ seminal album "Kind of Blue" (1959). This controversial recreation —or was it more of a re-enactment?— caused many critics and fans to question the band’s motivation: Was it a shameless self-plug? A respectful tribute or unnecessary parody? An academic exercise, perhaps? Or rather the jazz equivalent of a ‘classical’ historically informed performance (HIP)? While the band members sought to resolve the matter by explaining their own logic behind creating Blue, explicitly in interviews and more implicitly hinting at it in the liner notes (an essay by Jorge Luis Borges on the fictive writer Pierre Menard), it remained a hotly debated record that firmly revealed some of the key issues relating to jazz and its tradition(s).
Focusing on this and other re-imaginations of Kind of Blue, I will explore some of the tensions that arise from historical recreation in jazz, drawing on a reception study of Blue and related records, and personal experiences with an experimental recording session of the music of Duke Ellington, using a historically informed approach. Overall, this paper will offer an understanding of how aspects of (fictive) identity, authenticity, and canon-making manifest themselves in popular music and its critical/popular reception.

Beatles cover bands come in many forms and guises, from the zany parody of The Rutles to the all-... more Beatles cover bands come in many forms and guises, from the zany parody of The Rutles to the all-female The Sheatles. One of the best-known tribute groups is The Bootleg Beatles, which since 1980 has ceaselessly toured the world with its elaborate shows, including appropriate costumes and hairdo, down to on-stage banter with Scouse accent. By contrast, the Dutch band The Analogues approach such re-enactment quite differently. Downplaying all visual effects, it strives for complete aural accurateness by using the exact same instruments, not simply by utilizing the iconic Höfner violin bass, but the entire range of vintage gear, including harp, mellotron and sitar.

In this presentation I take The Bootleg Beatles and The Analogues as comparative case studies, discussing how they aim to reanimate the nostalgic past in an ‘authentic’ manner using very different means to an end. While the former places much emphasis on the visual (or context), the latter foregrounds the aural (or content). In doing so, both offer their audiences much-desired yet different commodities: The Bootleg Beatles to first-hand ‘witness’ a Beatles show, The Analogues to finally hear the six last studio albums performed live ‘for the first time.’ In the process, I reveal some of the tensions that arise from such historical recreations, in particular relating to authenticity, heritage, and liveliness. Overall, this presentation aims to demonstrate the importance of tribute bands to The Beatles’ legacy, a topic not often tackled in Beatles Studies (notable exceptions being Inglis 2006, Gregory 2012, Haanstad 2015, and Meyers 2015).

Jimmie Blanton (1918–1942), best known for his tenure in Duke Ellington’s famed jazz orchestra be... more Jimmie Blanton (1918–1942), best known for his tenure in Duke Ellington’s famed jazz orchestra between 1939 and 1941, is generally seen as one of the most influential bassist in jazz history. One of the qualities he has been most praised for is his tone, in particular its loudness, which has been characterised as ‘outsized’, ‘resonant’, ‘roaring’, and ‘huge’. While jazz scholar Brian Priestley (2009: 85) observed that tone is often ‘thought of as god-given’, I wanted to understand why and how Blanton’s tone was (perceived as being) different from that of his peers. I examined a number of possible impact factors, such as his performance technique and his instrument, but found that none of these differed significantly from those of his fellow-bassists. Eventually, I (partially) found the answer by recreating Blanton’s music.

In this paper, I will discuss a recording session by the Brussels Jazz Orchestra and myself on bass in which we recreated the circumstances of an Ellington performance in the 1930s–1940s, both live and in the studio, in a historically informed way, for example by using a historically appropriate instrumentation, repertoire, location, recording set-up, and performance practice. The outcome revealed that certain changes in the orchestra’s seating plan were key to Blanton’s perceived superior tone. I will review the preparation, recording process, and results, drawing on a combination of iconographical analysis of historical photographs, complete participant observation, comparative auditory analysis, and formal and informal (semi-structured) interviews with a number of the participants. Overall, I will demonstrate that the concept of historically informed performance practice is a useful, yet underused research tool in the field of jazz studies.

The Ellington band has always been 'the home of the virtuoso bass player', as Eddie Lambert state... more The Ellington band has always been 'the home of the virtuoso bass player', as Eddie Lambert states (1999, 138). Bassists such as Wellman Braud, Jimmie Blanton, and Oscar Pettiford are heralded as key figures in the development of jazz bass playing, garnering significant popular and critical acclaim. However, in line with Romantic constructions of the solitary artistic genius, the social interactions and extramusical contexts that contributed to their playing and its reception is less often considered. One such context is that of music technology and the impact it had on how the string bass operated within Ellington's music, be it in notated form, or in performance.

In this paper, I will discuss a recording session by the Brussels Jazz Orchestra and myself on bass in which we recreated the circumstances of an Ellington performance in the 1930s and 1940s, both live and in the studio, in a historically informed way, for example by using a historically appropriate instrumentation, repertoire, location, recording setup , and performance practice. The outcome revealed that certain technical manipulations, such as the microphone positions, are key to understanding how Ellington, his bassists in these decades, and the recording engineers made use of technological mediation (Verbeek 2015, 28) to achieve certain effects that benefitted the string bass, in the process contributing to the evolution of jazz bass playing and the way it was perceived by other bassists, jazz composers, and fans. I will review the preparation, recording process, and results of this session, drawing on a combination of visual analysis of historical photographs, complete participant observation, comparative auditory analysis, and formal and informal (semi-structured) interviews.

One of the aspects Jimmie Blanton (1918–1942), best known as Duke Ellington’s bassist between 193... more One of the aspects Jimmie Blanton (1918–1942), best known as Duke Ellington’s bassist between 1939 and 1942, has been most praised for, is his tone, in particular its loudness, which has been characterised as “outsized,” “resonant,” “roaring,” and “huge.” While Brian Priestley (2009: 85) observed that tone is often “thought of as god-given,” I wanted to understand why and how Blanton’s tone was (perceived as being) different from that of his peers. I examined a number of possible impact factors, such as his performance technique and his instrument, but found that none of these differed significantly from those of his fellow-bassists. Eventually, I (partially) found the answer by recreating Blanton’s music.

In this paper, I will discuss a recording session by the Brussels Jazz Orchestra and myself on bass in which we recreated the circumstances of a 1930s–1940s Ellington performance, both live and in the studio, in a historically informed way, for example by using a historically appropriate instrumentation, repertoire, location, recording set-up, and performance practice. The outcome revealed that certain changes in the orchestra’s seating plan were key to Blanton’s perceived superior tone. I will review the preparation, recording process, and results, drawing on a combination of iconographical analysis of historical photographs, complete participant observation, comparative auditory analysis, and formal and informal (semi-structured) interviews with a number of the participants. In broad terms, I will demonstrate that the concept of historically informed performance practice (or HIPP) is a useful, yet underused research tool in the field of jazz studies.

While Louis Armstrong is best known for his singing and trumpet playing, he was also known to be ... more While Louis Armstrong is best known for his singing and trumpet playing, he was also known to be an engaging, witty writer as well as artful bricoleur of collages. Using boxes of Ampex reel-to-reel tape as canvas, he compiled around 500 collages that served as a visual diary of his concerts and anything he wished to document, including ads for his beloved Swiss Kriss laxative. Among his many collages, one holds a visual impression of Brussels, Belgium’s capital. What at first appears to be just another collage dedicated to a concert location, upon closer inspection is rather remarkable. Jazz bassist and historian Matthias Heyman will detail the visual codes embedded in the collage – and use it as a lens on the jazz community in 20th century Belgium.

Jazz lore has it that the tuba was the initial bass instrument of choice until, in the 1930s, it ... more Jazz lore has it that the tuba was the initial bass instrument of choice until, in the 1930s, it was supplanted by the double bass. When the latter was used, it slapped out roots and fifths on every strong beat, a practice that persisted until Walter Page introduced the ‘walking bass’ concept, so the story goes. The reality, however, was far more nuanced, and the above myths, in part the result of judging performances made with imperfect recording and playback technology, lessened the attention given to early jazz bassists. As a result, their techniques are rarely used today beyond parody or pastiche.
In this paper I look beyond the mythology and dispel the myths by surveying the music of early jazz’s most important bassists from a historical and technical perspective. Furthermore, I demonstrate how their performance practice can still be relevant today, even in a modern idiom.

It’s no coincidence that Bill Johnson, Pops Foster and Wellman Braud, to name but a few of the most influential early jazz bass men, all hailed from New Orleans. It has been suggested that their stylistic approach and performance techniques originated in NOLA’s cross-cultural melting pot, with influences from visiting Afro-Cuban orquestas típica and local klezmer kapelyes. The result was an original, sophisticated style that incorporated a wide variety of techniques and timbres: slap- and snap-style, arco, two-beat, walking, eight-note lines, solo, often all used within the same tune.
Informed by a methodological approach combining oral history, transcription, analysis and performance, this multimedia presentation yields valuable insights into the historical role of the bass in the first decades of jazz history, which, given the central place of tradition in jazz education, is not just relevant for bassists and music historians, but for every jazz educator.

Jimmie Blanton is one of the most influential bassists in jazz history, yet many aspects of his l... more Jimmie Blanton is one of the most influential bassists in jazz history, yet many aspects of his life and music are unknown. This presentation will explore several such elements, such as his very first recording session—2 years before joining Duke Ellington—the introduction of techniques predating Scott LaFaro’s work by 15 years, and a unique viewing of the only known footage of Blanton performing!

When asked what constitutes Belgian jazz, many will resort to naming such usual suspects as Toots... more When asked what constitutes Belgian jazz, many will resort to naming such usual suspects as Toots Thielemans, Philip Catherine, or Bobby Jaspar. Others might be able to list a few current bands, most notably Aka Moon, Octurn, or the Brussels Jazz Orchestra. All of these have at least one thing in common: they entered the (inter)national limelight in the second half of the 20 th century. For some, this creates the impression that Belgian jazz really began to happen only in the last sixty years, rendering the prewar music irrelevant, indeed, even implying that the above artists sprang on the scene virtually out of nowhere, an erroneous assumption as each new generation at least partially builds on the achievements of the previous one. Such accomplishments are often musical–be it technically, creatively or stylistically–, but also take place on a more general, promotional level. In this paper I explore some prewar initiatives that lay the foundation for the broad Belgian network that enabled postwar jazz to thrive. I focus in particular on the Jazz Club de Belgique, the Belgian pendant of the Hot Club de France, and on the amateur jazz competitions it organised since 1932. These initiatives were instrumental to the early careers of both Thielemans and the Bop Shots, a band that spawned the talents of Jasper and many others, and eventually led to their inclusion in the star-studded Festival International 1949 de Jazz in Paris, where they could be found billed next to Charlie Parker and Miles Davis. Overall, I aim to illustrate how Belgium's most famous generation of jazz musicians was able to achieve international fame by building upon the structures and overall support that had been furnished in previous decades by savvy promoters and avid aficionados that are now almost entirely forgotten.

Duke Ellington has throughout his entire career been partial to the deep sounds of the bass, as e... more Duke Ellington has throughout his entire career been partial to the deep sounds of the bass, as evidenced by records ranging from East St. Louis Toodle-Oo (1926) to Portrait of Wellman Braud (1970). He always made sure he had the finest bassmen at his disposal, and used them to good advantage, not merely as accompanists or soloists, but also by having them provide counterpoint, double melodic lines, add percussive effects, etc. Arguably Ellington’s most famous bassist is Jimmie Blanton (1918-1942). Best known for his tenure with Duke between 1939 and 1941, he is generally seen as one of the most influential bassists in jazz history.
While Ellington is credited for giving him (inter)national exposure, his compositional role in establishing Blanton as a major jazz figure remains strangely overlooked. It could even be argued that although Duke did not play the string bass, he was instrumental to its development. This paper discusses the compositional devices and strategies Ellington used to explore new approaches to the bass function, and reveals how he in the process helped define its role in jazz.

I will begin by surveying how Ellington wrote for his first bassists, most notably Wellman Braud and Billy Taylor, and how these early experiments already pushed the boundaries of bass playing. With the arrival of Blanton in 1939, Ellington began writing pieces that extensively spotlighted his playing, such as Sepia Panorama (1940). I will detail Duke’s innovative compositional techniques, while also considering more practical strategies that were used to enhance the bass, such as putting Blanton in the orchestra’s front line. Finally, I will discuss how Blanton’s legacy endured, not only through his direct followers such as Junior Raglin and Oscar Pettiford, but also in Ellington’s composing from the 1940s to 1974.
Overall, this paper will demonstrate that jazz bass’s “revolution” shouldn’t be attributed solely to Blanton, but rather was a collaborative effort drawing on the skills of both Blanton and Ellington. As a bonus, this multimedia presentation is illustrated with rare audiovisual material, including an exclusive viewing of the only existing footage of Blanton performing

De Morgen, 2018

An article on my PhD promotion that appeared in one of Belgium's national newspapers, De Morgen.

The Beatles are known for cheeky punchlines, but understanding their humor goes beyond laughing a... more The Beatles are known for cheeky punchlines, but understanding their humor goes beyond laughing at John Lennon's memorable “rattle your jewelry” dig at the Royal Variety Performance in 1963. From the beginning, the Beatles' music was full of wordplay and winks, guided by comedic influences ranging from rhythm and blues, British radio, and the Liverpool pub scene. Gifted with timing and deadpan wit, the band habitually relied on irony, sarcasm, and nonsense. Early jokes revealed an aptitude for improvisation and self-awareness, techniques honed throughout the 1960s and into solo careers. Experts in the art of play, including musical experimentation, the Beatles' shared sense of humor is a key ingredient to their appeal during the 1960s- and to their endurance.

The Beatles and Humour offers innovative takes on the serious art of Beatle fun, an instrument of social, political, and economic critique. Chapters also situate the band alongside British and non-British predecessors and collaborators, such as Billy Preston and Yoko Ono, uncovering diverse components and unexpected effects of the Beatles' output.