3958Re: When did Jazz die?
- Mar 18, 2007--- In RedHotJazz@yahoogroups.com, "Patrice Champarou"
> I am afraid I still do not understand the question (or did it
> reply already?)Hi Patrice, the question is when Jazz died. It contained a suggestion
but it is open for a discussion.
> I suppose everyone is free to fix their own limits to what theyconsider as
> real jazz,So everything can be real Jazz. A picture on the wall or a baby's cry.
> and I guess there will be as many different replies as members ondying
> this list. Some will even consider there is no real difference between
> Lester Young and Archie Shepp, others will declare that jazz started
> in the 30's (wasn't Morton's piece called "Dirty, Dirty, Dirty" aparody of
> swing?) but I doubt this can lead us anywhere.Sure there are several views lets hear it!
> This is no place for me to explain why I consider John Coltrane'sAlabama as
> a masterpiece or why Thelonious Monk is the one I would take to thedesert
> island.It doesn't need to be a Jazz in order to be a masterpiece. Speaking
and evaluating from the Jazz point of view is interesting.
> I reject the idea of "downgrading" just as much as the concept ofInteresting, but the progress is what many critics over the years
> "progress" applied to music,
demanded. They didn't prove how often a music should "progress", but
they wanted it to progress at their will otherwise it was out of date
and something new was state of the art.
> and if the original question concerned theintroduction of
> evolution of styles, I doubt that marketing purposes or the
> long-playing recording by Blue Note played a greater part than what theBlue Note that were looking for progress and bebop they got to a dead
> musicians wished to play and what the audience expected to hear.
end in 1965 and sold themselves.
> And as far as more and more jazz lovers turning to musicians of thepast,
> why complain? It is no-one's fault if there haven't been any Mortonsor J.S.
> Bachs for a while, it is just the way music changes - and you won'tforce
> the African-American audience to support styles that were clearlyrelated to
> segregation, prohibition, depression and misery, and the mostincredible
> unequality - this is purely intellectual nostalgia which only wealthytimes of
> intellectual whites can afford, just like regretting the good old
> hard work from sun to sun on the Mississippi Delta plantations whichHere is a 1920's quote from Roger Pryor Dodge "Much as Jazz is
> produced such fascinating blues!
supposed to dominate our modern music, it's really rare in it's pure
state... The only feasible way to hear good jazz in quantity is
through phonograph records"
Now, can we say in 1926 he was talking about a purely intellectual
nostalgia when he said in 1926 that the place to find real Jazz is on
records? Or maybe we see a progress as he describes it in his article
as Paul Whiteman syncopating the classics, in my words, a process of
adding Jazz elements to Classical themes so it will "ring a bell" that
it is Jazz but not contain really the Jazz art, like a Pavlov's Dog
that hear the bell and think he is about to get a real meal.
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