In November 1938 and January 1939, the BBC relayed two American Jam Sessions from New York to Britain. Regarded as historic by critics and producers, the live relays broke from BBC tradition in their presentation of improvised jazz and in their production as “informal parties.” Both broadcasts featured Alistair Cooke as announcer and “a galaxy of swing stars” (including Sidney Bechet, Teddy Wilson, and Tommy Dorsey) assembled by the New York bandleader Joe Marsala; however, British jazz enthusiasts responded to them very differently. Whereas the second session was widely praised, the first session inspired controversy, particularly after a leading critic deemed it a “washout.”

The divergent reception demonstrated the challenges of maintaining the jam session's status as a paragon of authenticity as it underwent three key transitions during the late 1930s: the transformation from in- and inter-group activity to public event; the transmission from New York's jazz and swing cultures to Britain's enthusiast subculture; and the transmutation from live performance to live broadcast. This article examines the context, planning, content, and reception of the 1938/39 BBC jam sessions as a case study in how authenticity in jazz was rearticulated in public, mediated, and transnational spaces.

This article traces Steve Reich through the Bay Area's cultural nexus during the period 1962–65, exploring intersections with Luciano Berio, Phil Lesh, Terry Riley, Robert Nelson, the San Francisco Mime Troupe, and the San Francisco Tape Music Center. The aim is to present a revised history of this era by drawing on personal interviews with Tom Constanten, R. G. Davis, Jon Gibson, Saul Landau, Pauline Oliveros, and Ramon Sender. In addition, previously unused source materials and contemporaneous newspaper reception are employed to provide a more nuanced contextual framework. Reich's heterogeneous activities—ranging from “third stream” music and multimedia happenings to incidental scores and tape collage—deserve investigation on their own terms, rather than from within narratives concerned with the stylistic development of “minimalism.” More appropriate and viable aesthetic parallels are drawn between Reich's work for tape and Californian Funk art.

This article examines the influence of strategic musical alliances on the formation of a unique regional Acadian cultural identity. The Acadian communities of Prince Edward Island and les Îles-de-la-Madeleine (Québec), located on Canada's east coast, share a tumultuous socio-political history that is traced to le Grand Dérangement, the eighteenth-century deportation of thousands of Acadians from eastern Canada. The geographic location of the islands, their contemporary political affiliations, and divergent cultural retentions suggest distinct experiences of Acadian identity; nonetheless, renewed interest in inter-island partnerships has arisen over the past decade, often along musical lines. These alliances have been fostered largely by a young generation of musicians from the Acadian group, Vishtèn. Through their strategic musical, narrative, and marketing choices, members of Vishtèn have striven vigorously to advance the project of a shared island Acadian identity, while claiming a place in the global “traditional” music market. I conclude that this exchange has fostered an emic perception of a unified francophone Acadian community that has transformed the cultural geography of this region of “Acadia” and contributed to local processes of Acadian cultural revitalization.