How far jazz has come.Once routinely associated with swiveling hips, various drugs of choice, and unruly goings-on, it now has moved to the heart of the cultural establishment.Today, jazz is supported by major foundations, taught at most centres of higher learning, embraced by powerful institutions such as the Lincoln Center and the Smithsonian Institute, and honoured by the White House; there are no more dingy dives for this music.For some, this development represents the kind of attention that jazz deserves.For others, it is the death knell for a once-living art form.The literature on jazz has been going through a similar shift.Once the purview of record collectors, journalists, and enthusiasts (including writers such as Stanley Dance, Martin Williams, Dan Morgenstern, Max Harrison, Ralph J. Gleason, William Russell, and George Hoefer), jazz is now fully embraced by the academy.I imagine that, by the reckoning of the editors of Uptown Conversation, these earlier commentators belonged to the "old jazz studies."They shared a belief in the value of jazz which was, at the time, largely viewed as inferior by proponents of "art" music.They also shared an obsession with documenting the lives and careers of jazz musicians.Few of them had academic credentials or formal musical training.There were some exceptions, of course, including ethnomusicologists Richard
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