12/15/11
Today, reading short papers by my Jazz History class students, I came across something a student wrote that I found very intersting. The student was writing about the neo-traditionalist era of jazz (Wynton Marsalis, and so many of the players of the last two decades who play in traditional styles, trying to master styles and masters of the past: Charlie Parker, Swing, big band, Bebop, Hard bop and Post bop.
These are the styles so many of us, myself included, love to play. We are loyal followers though we do sincerely try to expand and improve all the time and reach further,but that is very difficult. Remaining a very good player of allready accomplished styles is very difficult too. Essentially many of us are like classical players who try to perfect music of the past.
But the student found an interesting quote by Miles that sort of stopped me in my tracks for a second. Miles once famously asked Wynton Marsalis, "Didn't we do it right the first time?" And we all know Miles was never one to remain in one style - he was always tryng to move on, and I truly respect his artistry.
Nicholas Payton, added to Miles' view in a recent rather inflamatory article.
he said, jazz ended 1959 and those jazz artists who are not moving the music in new directions away from jazz are failing..(my 2008 DMA Dissertation is "1959...most import year in Jazz History)
Also, my son's friend , a fine jazz student bassist at UNC-G saying he doesnt think jazz is a relevant artform to most people anymore, so it's hard to play a music that has such low popularity.
But then I am reconfirmed with my need to honor and connect to past styles when this past Sat. my group is rehearsing and sound checking along with the Larry Willis group for the Ray Codrington tribute in Fayetteville and Larry warms up playing "So What" from Miles Davis' "Kind of Blue" Larry plays Miles' solo note for note on the piano and to hear Larry playing it totally confirms my relationship with the music I enjoy so much. Am i just too traditional and not able to be open minded about new alternative styles or are these alternatives just not as good.
1/3/12
I watceh a DVD entitled New Jazz Icons featuring :
Terrence Blanchard, Nicholas Payton and Robert Glasper and in interviews they each
propose abandoning the jazz stylistic labels..all there talk is aimed at constantly creating someting new and different from the past styles because they figure the jazz styles of the past are as they say, dead.
If Nicholas, Terrenece and Robert were coming up with music that struck me and connected to me I would agree with them, but there music seems, meandering, and overly vamp and drum oriented. Where's the meloy and harmony?
Wynton, contrary opinion is, "Why, when America has created this totally unique artform, are there so many Americans that want to tear it down and start over without allegiance to past styles."
I agree with Wynton mostly because listening to the 'new ' music has so little meaning to me.
Are they so negative about showing connections to past traditions because they have such big egos that they want to be the next great stylist?
Today, reading short papers by my Jazz History class students, I came across something a student wrote that I found very intersting. The student was writing about the neo-traditionalist era of jazz (Wynton Marsalis, and so many of the players of the last two decades who play in traditional styles, trying to master styles and masters of the past: Charlie Parker, Swing, big band, Bebop, Hard bop and Post bop.
These are the styles so many of us, myself included, love to play. We are loyal followers though we do sincerely try to expand and improve all the time and reach further,but that is very difficult. Remaining a very good player of allready accomplished styles is very difficult too. Essentially many of us are like classical players who try to perfect music of the past.
But the student found an interesting quote by Miles that sort of stopped me in my tracks for a second. Miles once famously asked Wynton Marsalis, "Didn't we do it right the first time?" And we all know Miles was never one to remain in one style - he was always tryng to move on, and I truly respect his artistry.
Nicholas Payton, added to Miles' view in a recent rather inflamatory article.
he said, jazz ended 1959 and those jazz artists who are not moving the music in new directions away from jazz are failing..(my 2008 DMA Dissertation is "1959...most import year in Jazz History)
Also, my son's friend , a fine jazz student bassist at UNC-G saying he doesnt think jazz is a relevant artform to most people anymore, so it's hard to play a music that has such low popularity.
But then I am reconfirmed with my need to honor and connect to past styles when this past Sat. my group is rehearsing and sound checking along with the Larry Willis group for the Ray Codrington tribute in Fayetteville and Larry warms up playing "So What" from Miles Davis' "Kind of Blue" Larry plays Miles' solo note for note on the piano and to hear Larry playing it totally confirms my relationship with the music I enjoy so much. Am i just too traditional and not able to be open minded about new alternative styles or are these alternatives just not as good.
1/3/12
I watceh a DVD entitled New Jazz Icons featuring :
Terrence Blanchard, Nicholas Payton and Robert Glasper and in interviews they each
propose abandoning the jazz stylistic labels..all there talk is aimed at constantly creating someting new and different from the past styles because they figure the jazz styles of the past are as they say, dead.
If Nicholas, Terrenece and Robert were coming up with music that struck me and connected to me I would agree with them, but there music seems, meandering, and overly vamp and drum oriented. Where's the meloy and harmony?
Wynton, contrary opinion is, "Why, when America has created this totally unique artform, are there so many Americans that want to tear it down and start over without allegiance to past styles."
I agree with Wynton mostly because listening to the 'new ' music has so little meaning to me.
Are they so negative about showing connections to past traditions because they have such big egos that they want to be the next great stylist?