[JPL] Re' Kenny Drew Jr's remarks

Bob Stockton drbob at modernjazzclassics.com
Mon Apr 10 13:48:09 EDT 2006


A good part of Drew's lament focused on the destruction of youth and a 
culture of  gang violence and glorification of the drug dealing, pimping, 
gangsta violence that could destroy  - indeed is destroying - a significant 
subpopulation of today's youth. This trash is nothing more than genocide in 
my view, and the panderers, pimps, video and music labels, and yes, 
Hollywood should be held accountable.

----- Original Message ----- 
From: "Jim Wilke" <jwilke123 at comcast.net>
To: "Jazz Programmers Mailing List" <jazzproglist at jazzweek.com>
Sent: Monday, April 10, 2006 12:17 PM
Subject: Re: [JPL] Re' Kenny Drew Jr's remarks


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I read that commentary by KD a short while before it was published
here, and was reminded of Pat Metheny's comment on "G" which was a
similar cry against dumbing down music, but without the racial aspects.

I thought of both for a moment yesterday after a concert by the Seattle
Symphony which is currently in the middle of a Shostakovich festival.
Mstislav Rostropovich, who knew both Shostakovich and Prokofiev, was in
town to conduct several concerts and this one included Shostakovich's
rarely performed First Symphony.  S. sketched this one for a
composition class at Leningrad Conservatory when he was 19 and finished
scoring it in a matter of weeks!  The faculty was amazed and
recommended the work to the Leningrad Symphony which premiered it in
May of that year (1926) and it was the first public triumph for a young
musician who quickly became one of the most important composers of the
20th century.  It also got an ovation from a couple thousand people in
Seattle yesterday.

Coming out and heading for a drink and a bite to eat after the concert
I was thinking "I wonder how many 19 year olds are writing 40-minute
compostions scored for 90 piece orchestras today?" when what should I
hear but a "fump / tshew / fump / tshew/ fump"  from a passing car.
One has to wonder about our musical progress ....


Jim Wilke
Jazz After Hours, PRI
www.jazzafterhours.org


On Monday, April 10, 2006, at 09:45  AM, Arturo wrote:

> Although Kenny makes some valid points it appears to me that his monologue
> is partially "sour grapes". Granted, Pop music is now made for the eyes 
> and
> not for the ears due to the proliferation of videos which is what sells
> music nowadays. The dismissal of current music by elders is nothing new, I
> recall reading a quote by Aristotle or another classic Greek figure
> bemoaning the end of good music as the new generation was creating music
> that was going against the grain. Every generation believes the music they
> came up with is the best.
>
> In our world of jazz, it too has always found opposition to new 
> innovations,
> there are folks who believe that if jazz doesn't have a banjo it is not 
> jazz
> at all. Many swing musicians thought of bebop to be the end of jazz as did
> beboppers with the 1960's progressive movement. Pop music lovers of the
> 1950's signaled the burgeoning rock & roll movement as a "way of lowering
> White people to the level of the nigras", heck in the Black communiites of
> post WW2, many viewed jump blues and R'n'B as the "devil's music" as they
> did with the blues decades before. Rock n rollers thought of rock(without
> the roll)in the late 60's and 70's as the end of civilization. Followers 
> of
> R n B and soul concluded the world would surely end because funk had taken
> over, then came the low point of US music history, disco. Hip hop which is
> far different than rap which is not correctly called "rap music" began as 
> an
> alternative to the boring, cloroxed, lame disco sound of the mid to late
> 70's. Hip hop is an extremely creative art form, a recycling of the old
> turned into something new. Hip hop's influence dominates today's 
> mainstream
> society, it is everywhere, used by those who want nothing to do with the
> creators and fans of hip hop to sell, inform or simply communicate with 
> the
> masses. Hip hop changed the face of the world, then came the co-opting of
> hip hop by the multi-nationals corporations in the late 1980's and early
> 1990's and turned hip hop into rap promoting the negativity for maximum
> appeal through its lowest common denominator. For the most part it was 
> White
> suburbanites that made hip hop turning into rap possible, not African
> Americans.
>
> Black music, style, fashion, slang etc has always been the most 
> influential
> force of the USA, the saddest part of today's rap scene is that the 
> artists
> are allowing themselves to get used for a few carrots that have been 
> dangled
> in front of them, the true hip hop artists are still out there, in the
> underground, they are not on any major labels or on any of the radio and 
> TV
> outlets. Jazz musicians are the true revolutionaries in my opinion as they
> defy the majority of artists looking to make big bucks and instead opt for
> making an artistic statement instead. Here's some food for thought by the
> seminal spoken word group The Last Poets: "The record label is the pimp, 
> the
> artist is the ho' and the audience is the trick"
>
>
> Arturo Gómez
> Music Director, jazz89-KUVO
> The Oasis In The City
> Colorado's First HD FM Radio Station
> Celebrating 10 Years of Live Performances!

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This week's sponsor: Jaco Pastorius  -  The Word Is Out! (Heads Up 
International)

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Jaco Pastorius  -  The Word Is Out! (Heads Up International)

THE JACO PASTORIUS BIG BAND CONTINUES TO SPREAD THE WORD ON THE LEGACY OF A 
BRILLIANT BASSIST, COMPOSER AND ARRANGER


The Word Is Out! features: Jaco Pastorius, Gerald Veasley, Victor Wooten,
Richard Bona, Jimmy Haslip, Jeff Carswell, Israel ''Cachao'' Lopez, Jr.,
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Hiram Bullock, Mike Stern, Ed Calle, Bob Mintzer, Peter Erskine,
Robert Thomas, Jr., Othello Molineaux and Toots Thielmans

''Most musicians that I know absolutely appreciate the contribution Jaco 
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It's up to us to make sure folks don't forget.''

Marcus Miller

Following the success of Word of Mouth Revisited, the critically acclaimed 
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Market, Pat Metheny's Bright Size Life and his own self-titled debut - that 
stand today as major landmarks in his fabled career.

Set for international release on Heads Up on March 28, 2006 Radio Promotion: 
Neal Sapper nsapper at headsup.com and Mike Hurzon (co-producer of the project) 
trackst at bellsouth.net

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