27 JULY 03
An ongoing conversation I’ve been having with Ian Wallace about Jazz is ongoing, and he was so kind as to reprint some email I sent him in this regard, so he might clarify his position regarding the state of Jazz in our world to myself and others.
Read his online diary thing at:
http://diaries.krimson-news.com/IanWallace.shtml
Ian’s a great guy, and a fantastic drummer who’s way inside all this stuff.
His (and Keeling’s and Reuter’s) diary is one of the highlights of my day.
The present conversation is as follows:
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Sunday, July 27 2003
I got a letter from Henry Warwick relating to my thoughts on the state of jazz and rock. I think he missed the point I was trying to make. So in case anyone else out there felt the same way, I will try to clear it up.
From Henry;
In your latest diary, you wrote:
> So what is jazz now?
> Well to my mind it is now another form of classical music just like the
> symphony orchestras and chamber music ensembles of Mozart, Bach, Beethoven,
> Brahms, Haydn, Rachmaninov, Elgar, Vaughn Williams, John Williams, Leonard
> Bernstein, Elmer Bernstein, etc., etc.
> So is there anything wrong with that?
> Well no, absolutely not. Just because something is old or played in a certain
> tradition doesn’t make it any less beautiful and moving. In fact, it may
> serve to make it more so, like old wines or an old violin. And that’s what
>Annie does; she plays classic jazz.
Henry responds;
I’m sure Annie is a great singer, and I would never detract from her
efforts, but I must strenuously disagree with your assessment that it is a
new classical music. That is the line taken by Marsalis / Couch / Giddins et
al – that it was something that happened and isn’t happening any more.
I think this is completely fallacious. CLASSIC jazz might be frozen in time
like some butterfly in amber, but Jazz itself, at its core – the will to
sing freely, to improvise a melody with an improvisational ensemble, to
LISTEN while you play and everything you play happens in time and only for
that time, AND make all this emotionally evocative – that is not dead. It’s
very hard to find, but it is not dead.
Playing polyrhythmic structures of a certain character doesn’t mean that
other structures can’t be or aren’t jazz.
I think it’s time to liberate jazz from itself. It’s time to take playing,
emotive, evocative, thrilling playing, and let it play.
If it’s done with computers and machines, so be it. ***It will be closer to
the soul of Jazz than any replica, no matter how gently crafted***, and
staying with the essence is what matters – the form is just an illusion.
best,
HW
Part of my reply was;
Also while I’m writing to you I’d like to say that I think you got the wrong idea in regards to my posting about jazz and rock and the general state of music. This is my fault in the fact that I didn’t make myself clear enough. I love jazz more than any other musical form and continue to believe that it is still being played creatively and soulfully. It’s just that I think that it has gone as far as it can go in form and structure. This to me isn’t a bad thing.
Wonderful classical music still continues to be written and so does jazz. They just allude to the tradition that has been created in the past. Take Wayne Shorter’s last two albums; Footprints Live and Alegria. These are the highest form of playing and composition and creativity, but there’s nothing particularly new in form, harmonics and construction. Is this a bad thing? I don’t think so. I happen to think it’s a wonderful thing. Annie is the same way, she carries the torch using the tradition of jazz and making it her own.
I certainly don’t think jazz or rock is dead. Far from it.
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To which I can only agree, really, and so the conversation continues…
Today, I drove Beth to the airport. She’s back in Dallas for more SAP training – this came up without much warning. So, now I have to rehearse and pack for Vermont, design Dennis’s CD cover, AND watch Elizabeth all week because E isn’t in summer camp this coming week. I don’t mind being with E this week – it’s just that I have all these other MASSIVE deadlines to deal with, including sending out acceptance letters to people re: the SF Performance Cinema Symposium. I also need to line up news organisations to help promote this event. And keep an eye on her Boo-ness – this isn’t going to be easy.
So – it looks like I have my work cut out for me. Oh – and I have to find a job, ‘cuz I’m broke. Details, details, details.
Also, the bounty of bugs I found in Florence were mostly user error. There are other bugs in it, but they are so peculiar and oddly functional, that I’m actually able to use them, as a kind of glitch aesthetic. Eventually I’ll need them smoothed out, but for now, the errors actually enhance the material. Well, who’d-a-thunk-it?
PS: Listening to Harry Shearer’s Le Show, I heard someone do a parody of a song by the Pheremones. They did a song back in the 80s about “If you ain’t got the DOUGH Ray Meeee folks” which had to do with immigrants coming to America and finding nothing but poverty. The singer of this new version adapted it to California. Clever and kind of funny, but mostly if you live here…. Shearer’s website hasn’t listed the song yet, so I’ll find out who did it later this week. I always liked the Pheremones – I saw them play every Wednesday at the Grog and Tankard in Washington DC.
I wish they’d get some new music together – with the likes of George (sock puppet) Bush blowing thigs up, emptying the treasury, and ruining the planet – and the puppetmaster NeoCons running rampant all along – the world NEEDS Al and Jimmy doing that Pheremone thing.