Hailed by corporate, philanthropic, and governmental organizations as a metaphor for democratic interaction and business dynamics, contemporary jazz culture has a story to tell about the relationship between political economy and social practice in the era of neoliberal capitalism. The Jazz Bubble approaches the emergence of the neoclassical jazz aesthetic since the 1980s as a powerful, if unexpected, point of departure for a wide-ranging investigation of important social trends during this period. The emergence of financialization as a key dimension of the global economy shapes a variety of aspects of contemporary jazz culture, and jazz culture comments upon this dimension in turn. During the stateside return of Dexter Gordon in the mid-1970s, the cultural turmoil of the New York fiscal crisis served as a crucial backdrop to understanding the resonance of Gordon’s appearances in the city. The financial markets directly inform the structural upheaval that major label jazz subsidiaries must navigate in the music industry of the early twenty-first century, and they inform the disruptive impact of urban redevelopment in communities that have relied upon jazz as a site of economic vibrancy. In examining these issues, The Jazz Bubble seeks to intensify conversations surrounding music, culture, and political economy.
Murphy, Craig N. (dir.), Global Institutions, Marginalization and Development, coll. ripe Series in Global Political Economy, New York, ny, Routledge, 2005, 223 p.
