Heli Reimann is postdoctoral researcher at the Sibelius Academy, University of Arts, Helsinki. Her current focus is on monography project about Soviet Estonian jazz history. She holds a PhD in musicology from University of Helsinki (2015).
Heli’s research activities lie in the interstices between jazz studies, cultural studies, Soviet studies, cultural history, Estonian history and jazz education.
Matthias Heyman (Belgium) is currently finalising his PhD research at the University of Antwerp in affiliation with the Royal Antwerp Conservatoire, where he obtained his MA in Jazz Performance (Double Bass). In his research he seeks to contextualise the bass playing of Ellingtonian Jimmie Blanton (1918-1942). In 2011, Matthias led a research project on Belgian jazz heritage, and he continues to specialise in his country’s jazz history. He is also active as a freelance double bassist, and is a lecturer of all jazz history and research courses at the Jazz Studio (Antwerp) and the LUCA School of Arts (Leuven). Matthias has published in journals such as Journal of Jazz Studies and Current Research in Jazz, besides presenting at several international conferences.
Pedro Cravinho currently is a Doctoral Visiting Researcher at Birmingham City University (BCU), United Kingdom. Cravinho is conducting his PhD research on Jazz on Television in Portugal during Estado Novo regime (1956-1974), at the University of Aveiro (UA), Portugal, under supervision of Prof. Rosário Pestana (UA, PT), and co-supervision of Prof. Nick Gebhardt (BCU, UK). Cravinho researches interests include Jazz Studies and Media Studies, with a particular interest in jazz and television, as also, the political and social history of Jazz Diaspora during the 20th century. He has numerous published and forthcoming articles on Portuguese jazz.
Renée Stefanie is a vocalist, specialising in Jazz through much of the broad spectrum that the genre label implies. Born in the Netherlands, raised in New Zealand, based in Scotland and with a debut album recorded in the South of France she is a musical amalgamation of European and American influences who has been initially overwhelmed by, and ultimately benefitted from, exposure to a variety of strong musical ideas, opinions and expressions.
She lectures in popular music at Edinburgh Napier University where she strives to collaborate with students in exploring a breadth of musical concepts and ideas; encouraging them to translate and interpret those ideas as tools to be utilised in the realisation of their own musical styles. Her primary areas of academic interest relate to methodologies and approaches to enhance creative practices, kinesthetic pedagogical approaches in relation to abstract concepts, and the adaptation of vocal performance to suit variations of musical context and creative intention.
With a parallel career in performance and academia, Frost Fadnes’ research interest is centered on improvisational thinking within a practical context, specifically looking at improvisational processes through musical performance. His overall mission is to demystify improvisational music making, and reveal the musical thought within the performance. As a saxophone player, Frost Fadnes is active much of the year with The Geordie Approach (UK/NO) – mixing acoustic and electronically manipulated sounds – in addition to the Stavanger-based collective Kitchen Orchestra, the quartet Mole (UK/FR/NO), and the trios Target (UK/AU/NO) and Trio DRP (UK/NO).
Frost Fadnes is Associate Professor at The Department of Music and Dance, University of Stavanger, and former principal investigator for the HERA-funded research project Rhythm Changes: Jazz Cultures and European Identities.
Pianist / scholar William Bares received his Ph.D in ethnomusicology in 2009 from Harvard University under the mentorship of Ingrid Monson, the Quincy Jones Professor of African American Music. He spent much of the past decade researching European jazz and playing professionally on the European scene. He has published articles on transatlantic jazz in Jazzforschung, Jazz Research Journal, American Music, and the Grove Dictionary of American Music, among others. He taught at Harvard University, Brown University, Berklee College of Music and the New England Conservatory before taking a job as assistant professor of music and director of jazz studies at the University of North Carolina, Asheville, in 2011. Bares is active in Asheville’s thriving musical community as an educator, musician and promoter. He was the solo pianist in the Blue Ridge Orchestra’s debut of Rhapsody in Blue, and serves as curator of the Sunday Jazz Showcase at Asheville’s famed Isis Music Hall. He was also coordinator of Ecomusicologies 2014: Dialogues—an international meeting of scholars and musicians that took place in Asheville in October of 2014. His book, Eternal Triangle: American Jazz in European Postmodern, is forthcoming.
Donald James is an ethnomusicologist, musician, and music writer based in Boston. His Ph.D research investigated the effects of cultural policy on jazz musicians and style on the Paris scene in the mid-2000s. He has written on jazz and popular music for a variety of outlets—most notably, WGBH’s Front Row Boston, where he is the managing editor. James was also host and producer of Exploring Black Music, a podcast of the Center for Black Music Research.
James is a lecturer in ethnomusicology at Boston College and has taught at a number of institutions in the Boston area. He has lectured publicly on French cultural policy and jazz at the Copenhagen Philosophy Forum’s lecture series on Jazz and Philosophy, and various conferences and venues in the US and Europe. Most recently, James has begun work on a research project on cultural labor and the political economy of music in the Shoals region of Alabama.
Lawrence Davies is a PhD student at King’s College London researching the performance and appreciation of blues music in Britain before 1960. As well as tracking the genre’s transatlantic dissemination through live performance, recordings, and radio, his research examines how the blues was interpreted through broader, transnational jazz and folk ‘revival’ movements, fueling contemporary debates over national, social, and racial identity.
Lawrence is currently writing the entry on ‘British Blues’ for the forthcoming Bloomsbury Encyclopedia of Popular Music of the World, and blogs about his research at allthirteenkeys.com. From January – May 2016 he is a British Research Council Fellow at the Library of Congress in Washington, DC. In 2017, he will embark on an Edison Fellowship at the British Library to research the intertwined histories of classical, jazz, and ‘dance band’ music on record and radio in interwar Britain. Future plans include research on networks of creative labour in the blues.
Chris Inglis is a musicologist currently based in Sheffield, whose research explores the emergence and development of the genre of electro swing. After graduating from the BA (Hons) Music, Technology and Innovation programme at De Montfort University, he has recently completed the MA Musicology programme at the University of Sheffield. His other research interests include punk, and the art of live performance.
Michael Kahr currently works as a Senior Lecturer at the Institutes for Jazz und Jazz Research the University of Music and Performing Arts Graz, Austria and held previous positions at the universities of Vienna, Austria and Sydney, Australia. He received his PhD in 2010 at the University of Sydney with the dissertation „Aspects of Context and Harmony in the Music of Clare Fischer“. His research was or is accepted to be published in journals such as Jazz Research Journal, Jazzforschung / Jazz Research, Journal for Artistic Research, Darmstädter Beiträge zur Jazzforschung, Folkwang Studien and Zeitschrift für Hochschulentwicklung, as well as in books by Rutledge and Cambridge Scholars Press. Academic presentations were held at universities in Newark, Los Angeles, Birmingham, Leeds, Amsterdam, Shanghai, Weimar, Lucerne and others. In 2010 Kahr worked as a Fulbright Scholar in the U.S. and in 2011 he received the Morroe Berger – Benny Carter Jazz Research Award. Much of Kahr’s creative work as a professional pianist and composer appears in close relation to his research. He performed at major jazz clubs and festivals and released several CDs.
Emma Webster is currently working as the Research Associate at the University of East Anglia on the one-year AHRC Connected Communities-funded project, the Impact of Festivals, with Professor George McKay, in collaboration with the EFG London Jazz Festival. She is a co-founder and co-Director of Live Music Exchange, a hub for anyone interested in live music research, and is a co-author on a three-part history of live music in Britain, as well as co-authoring the Edinburgh live music census report and the Association of Independent Festivals’ six-year report. Emma received her doctorate from the University of Glasgow in 2011; her research was a study of live music promotion in the UK, and her field of interest is live music, festivals, and cultural policy. Prior to returning to academia, Emma worked professionally for eight years in music in a variety of roles and genres including opera, ‘world’ music, acid techno, festivals and digital distribution.
Jeremiah is a PhD candidate at Goldsmiths, University of London. His current research, entitled Identity, Improvisation and Influence: the Stylistic Development and Enduring Legacy of Django Reinhardt focuses on the Manouche jazz guitarist and aims to develop a clearer picture of his stylistic development. Drawing on his background of musicology and cultural heritage studies Jeremiah’s work examines Reinhardt via a critical engagement of his socio-cultural milieux, and within the frame of his geo-historical context. This research pays particular attention to the intersections of genres and the diverse interactions between musicians and styles at a global level.
Research interests include, jazz; swing; bebop; improvisation; noise music.