(left to right) Ornette Coleman, Stan Kenton, Miles Davis, Keith Jarrett. While scanning the web-o-verse for jazz comments and opinion, we kept running across phrases like “Coltrane never really impressed me”, “Miles is way overrated” and “Ornette simply couldn’t play”. While most comments like these were anonymous ones in forums or comment sections, there are […]
Musing away on a sunny. cold day in Michigan, we figured an aimless web search was in order. It’s amazing what one can turn up. First—and we’re filing this under the “Are You Serious? I Must Have a Closed-Head Injury!” column—news comes to us that Molly Ringwald—yes, that Molly Ringwald—is accepting payment as a jazz […]
To provide audio support for our last post, “Individuality: a lost art, part 3”, here are some more items for your listening pleasure. These tracks will give you a taste of the artists we talked about. As always, click on the song title to hear a sample at Amazon.com, or to buy the music, a […]
We threatened to continue this diatribe, and so we will. Our contention is that creative American music all seemed to die at roughly the same time around 1980. We don’t mean that it disappeared. We simply mean that genres like jazz, country and rock all stopped evolving and either became repertory, classical forms, like jazz, […]
In our last few posts, we’ve begun a lament about the demise of individuality and easily recognized styles among musicians. Here’s a suggested playlist to support what we’ve discussed thus far. As usual, hit the song titles, which are Amazon links, to listen to a sample, and to purchase the songs individually. We mentioned Count […]
We mentioned in our last post that individual style, wherein a musician’s general sound is so unique and recognizable as to be unmistakably his alone, is a dead commodity in modern American music. We went on to say that one of the most fruitful periods and environments for this sort of individuality was that transitional […]
To an attentive jazz listener, and one who’s into arcane and archaic music, the tenor saxophone playing of Ben Webster is immediately recognizable, and sounds nothing like that of Lester Young. Or Sonny Rollins. Or even like a less-ambitious player such as King Curtis. Similarly, none of the these players sound like any of the […]
(continued from part 1) Gioia’s book begins to make the point that pop standards, which are now ambitiously and pretentiously called “The Great American Songbook” by most historians of 20th century American music, and jazz are inextricably linked. Although Porter, Arlen, Kern, Gershwin, Berlin and company relied heavily on an African-American musical vocabulary that included […]
Just as we were getting started with the long, arduous defense of our position that jazz—and all other creative forms of American music—died sometime before 1980, we caught wind of an article from the November, 2012 issue of The Atlantic that agrees with us in principle, but takes a wildly divergent view of the mechanics […]