[JPL] Jazz isn't dying - culture is dying

rick rick at jazzrockworld.com
Mon Jul 31 14:07:07 EDT 2006


I would agree that the definition of Jazz Rock Fusion is ambiguous at best.
I've often said there are as many definitions as there are people listening
and playing it. Plus, just because it's Jazz Rock Fusion doesn't mean it's
good. One of my credo's has always been "Good Fusion makes me smile, bad
Fusion makes me laugh". Fusion may not be the next great phase of creative
modern American music, but it's certainly a good candidate (or was as you
say).  

Diversity is one of the beautiful things about Jazz. It's an American art
form that has universal appeal because of it's creative, skilled, and
improvisational aspects. The same is true for Fusion - yet Fusion isn't
considered Jazz by the traditional music business in the US. 

Getting too technical about what is Jazz or what is Fusion, can be a dark
alley where there's ultimately no point in going there. It would be similar
to any type of over-analyzing. It's Jazz, that's all. Well, let's put it
this way - if it's any good, it's because it's being played by Jazz
musicians. 

Again, the only point here is that Jazz broadcasters are the only likely
folks to program Fusion and must accept some responsibility on the issue
that they don't (for the most part). There's always exceptions. 

I have always found it amazing that Fusion is still around and still being
played at a high level of skill and integrity, yet it's unsupported by
traditional media. Why didn't it just die off completely like other musical
formats that have come and gone? Where's disco these days? I think disco was
just slightly more popular than Fusion too. 

Maybe the million dollar answer is happening at this very moment. Maybe it
just takes pro-active fans to stir the pot, rattle the cage, to create an
interest that might be followed by a demand that might be followed by a
supply that might be followed by more demand, and you know the rest...

One thing I can tell you for sure - my little website has gone from 15 or 30
visitors a day to nearly 1000 since I began promoting it. It's difficult to
promote too - people don't like spamming in forums and I can't afford
advertising, yet the word is getting around. Type in a Google search for
Jazz Rock and there I am. Me - a nobody. 

Amazing!!!

Rick

  

-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com] On Behalf Of
philipbooth at tampabay.rr.com
Sent: Monday, July 31, 2006 10:08 AM
To: Jazz Programmers Mailing List
Subject: Re: RE: [JPL] Jazz isn't dying - culture is dying

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Rick:

I appreciate your passion for "jazz-rock fusion." I, too, was very excited
by the creativity I heard when the genre first came into being, in the late
'60s/early '70s --particularly the likes of electric Weather Report, Return
to Forever and the Mahavishnu Orchestra. 

And I'm very much a fan of some of what I like to refer to as the "jazzy jam
bands," including MMW, Charlie Hunter, Scofield's funk/fusion projects,
Galactic and similarly tinted projects by musicians better known for
acoustic work, including Christian McBride, Roy Hargrove, Nicholas Payton,
Branford Marsalis, etc. I see these bands as indirect descendents of the
fusion movement.  

A question and a couple of thoughts.

How, exactly, do you define "jazz-rock fusion"? Does it simply refer to any
jazz-related music that's electric, plugged in, rather than acoustic? Music
that combines rock rhythms with some combination of jazz-related harmonies?
What are the parameters of the genre? If it's amorphous and undefined as it
seems to be, then who's to say what it is, and what it is not, and whether
programmers play enough jazz rock 
fusion.   

>From my POV, jazz has always been about a fusion of elements, going all
the way back to the fusion of African, European and Caribbean elements that
took place at Congo Square in New Orleans.

Also, I beg to differ with your suggestion that "Jazz Rock Fusion is the
natural next phase of jazz." That might have been true 30-40 years ago, when
the genre was born. But much of the music from that genre and that time
sounds as moldy and dated to today's listeners (and to my
ears) as '40s big-band swing did to young listeners of the '70s.  

(PLEASE don't get me wrong here -- there are plenty big bands from the '40s
and fusion groups from the '70s that I still like and still 
listen to).   

In my view, if jazz is evolving in any new directions and/or morphing into
new forms, it's moving in the direction of incorporating elements from
hip-hop, electronic music and various strains of so-called world 
music -- Africa, India, etc.     

----- Original Message -----
From: rick <rick at jazzrockworld.com>
Date: Monday, July 31, 2006 10:26 am
Subject: RE: [JPL] Jazz isn't dying - culture is dying
To: 'Jazz Programmers Mailing List' <jazzproglist at jazzweek.com>

> -------------------------------------------
> 
> This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial 
> Territory Orchestra
> 
> -------------------------------------------
> 
> The Jazz Programmers Mailing List is a free service provided by 
> JazzWeek.For more information visit us at  http://www.jazzweek.com/jpl 
> To become a sponsor contact Ed Trefzger at ed.trefzger at jazzweek.com or 
> 866-453-6401.
> 
> -------------------------------------------
> Hi Ed,
> 
> The point was about confinement, closed parameters, limits, 
> boundaries.
> 
> I was trying to make the point that there are many sub-styles of Jazz 
> that are still played heavily on the radio - EXCEPT for Jazz Rock 
> Fusion. All around the world Jazz Rock Fusion is considered Jazz, 
> except here.
> In the
> bigger picture Jazz Rock Fusion is the natural next phase of Jazz. 
> 
> Just to be even clearer, I'm not referring to popular smooth Jazz, but 
> the genuinely talented, educated, highly creative, and improvisational 
> basedmusic made by musicians that embrace the original vibe and groove 
> of the Jazz Rock pioneers. The perfect example was already mentioned - 
> where would someone expect to hear the new Adam Holzman Cd if not a 
> Jazz station? All the musicians I interviewed for my article seemed to 
> agree that real Fusion is played by Jazz musicians and it's confirmed 
> by its acceptance as Jazz worldwide, except here.
> 
> What's up with that?
> 
> The Question remains...
> 
> Best,
> 
> Rick
> 
> P.S. As a die hard Fusion fan, even I consider some of Miles' 
> electric stuff
> a "hard listen" but the genre itself isn't confined to "Dark Funk" 
> as many
> have labeled that "Dark Magus", or Hancock's "Mwandishi" period. 
> 
> 
> 
> 
> -----Original Message-----
> From: jazzproglist-bounces at jazzweek.com 
> [mailto:jazzproglist-bounces at jazzweek.com] On Behalf Of
> EdBride at aol.comSent: Monday, July 31, 2006 5:41 AM
> To: jazzproglist at jazzweek.com
> Subject: Re: [JPL] Jazz isn't dying - culture is dying
> 
> -------------------------------------------
> 
> This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial 
> Territory Orchestra
> 
> -------------------------------------------
> 
> The Jazz Programmers Mailing List is a free service provided by 
> JazzWeek.For more information visit us at http://www.jazzweek.com/jpl 
> To become a sponsor contact Ed Trefzger at ed.trefzger at jazzweek.com or 
> 866-453- 6401.
> -------------------------------------------
> In a message dated 7/31/2006 12:45:34 A.M. Eastern Daylight Time, 
> rick at jazzrockworld.com writes:
> <<..
> 
> Why  is
> the Jazz community here so willing to sacrifice the very principle and 
> spirit of the Jazz art form and confine itself to acoustic Be-bop  and 
> completely ignore Modern Electric Jazz?..>>
> 
> You make it sound like it's intentional, or some sort of conspiracy. 
> Here's a theory: maybe it has to do with what we like.
> 
> Ed
> 
> 
> 
> 
> -------------------------------------------
> 
> This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial 
> Territory Orchestra
> 
> -------------------------------------------
> 
> MTO Volume 1 is the debut album from Steven Bernstein's Millennial 
> TerritoryOrchestra.  The nine-piece outfit features some of Gotham's 
> most original musical voices, wicked and well-traveled improvisers who 
> tear into and savor Bernstein's arrangements like the tangiest Kansas 
> City barbecue. The selection of tunes includes classic '20s fare 
> (Charlie Johnson's &quot;Boyin the Boat,&quot; Bennie Moten's 
> &quot;Toby&quot;) and the kind of contemporary pop and R&amp;B hits 
> (Prince's &quot;Darling Nikki,&quot; Stevie Wonder's &quot;Signed, 
> Sealed, Delivered&quot;) that have long been part of Bernstein's 
> repertoire. The vibrancy of the playing, the wit and sass of the 
> arrangements, uncovers the genetic code that makes Bennie Moten and 
> Prince funk-soul brothers of the first order. All this, without once 
> conjuring the snoot of academe or dreaded notions of &quot;post-modern 
> jazz.&quot;
> 
> The Millennial Territory Orchestra is:  Steven Bernstein (trumpet, 
> slidetrumpet), Ben Allison (bass) Peter Apfelbaum (tenor) Charlie
> Burnham(violin) Clark Gayton (trombone), Erik Lawrence (baritone,
> soprano) Matt
> Munisteri (guitar, banjo, vocal), Ben Perowsky (drums) Doug Wieselman 
> (clarinet, tenor saxophone) and special guest Doug Wamble (guitar,
> vocal) on
> &quot;Signed, Sealed &amp; Delivered&quot;
> 
> IN STORES 8/1.
> 
> AT RADIO...right...about.....now.  Got it?  Hope so.
> 
> Contact:
> Garrett Shelton at Sunnyside Records  - garrett at sunnysiderecords.com
> 
> Also check out:  www.stevenbernstein.net
> 
> +++++++++++++++++++++++++++++++
> 
> Send jazzproglist mailing list submissions to
> 	jazzproglist at jazzweek.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
> 	http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> or, via email, send a message with subject or body 'help' to
> 	jazzproglist-request at jazzweek.com
> 
> You can reach the person managing the list at
> 	jazzproglist-owner at jazzweek.com
> 
> -------------------------------------------
> 
> This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial 
> Territory Orchestra
> 
> -------------------------------------------
> 
> MTO Volume 1 is the debut album from Steven Bernstein's Millennial 
> Territory Orchestra.  The nine-piece outfit features some of Gotham's 
> most original musical voices, wicked and well-traveled improvisers who 
> tear into and savor Bernstein's arrangements like the tangiest Kansas 
> City barbecue. The selection of tunes includes classic '20s fare 
> (Charlie Johnson's ''Boy in the Boat,'' Bennie Moten's ''Toby'') and 
> the kind of contemporary pop and R&amp;B hits (Prince's ''Darling 
> Nikki,'' Stevie Wonder's ''Signed, Sealed, Delivered'') that have long 
> been part of Bernstein's repertoire. The vibrancy of the playing, the 
> wit and sass of the arrangements, uncovers the genetic code that makes 
> Bennie Moten and Prince funk-soul brothers of the first order. All 
> this, without once conjuring the snoot of academe or dreaded notions 
> of ''post-modern jazz.''
> 
> The Millennial Territory Orchestra is:  Steven Bernstein (trumpet, 
> slide trumpet), Ben Allison (bass) Peter Apfelbaum (tenor) Charlie 
> Burnham (violin) Clark Gayton (trombone), Erik Lawrence (baritone,
> soprano) Matt Munisteri (guitar, banjo, vocal), Ben Perowsky
> (drums) Doug Wieselman (clarinet, tenor saxophone) and special guest 
> Doug Wamble (guitar, vocal) on ''Signed, Sealed &amp; Delivered''
> IN STORES 8/1.
> 
> AT RADIO...right...about.....now.  Got it?  Hope so.
> 
> Contact:
> Garrett Shelton at Sunnyside Records  - garrett at sunnysiderecords.com
> 
> Also check out:  www.stevenbernstein.net
> 
> +++++++++++++++++++++++++++++++
> 
> Send jazzproglist mailing list submissions to
> 	jazzproglist at jazzweek.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
> 	http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> or, via email, send a message with subject or body 'help' to
> 	jazzproglist-request at jazzweek.com
> 
> You can reach the person managing the list at
> 	jazzproglist-owner at jazzweek.com
> 
-------------------------------------------

This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial
Territory Orchestra

-------------------------------------------

MTO Volume 1 is the debut album from Steven Bernstein's Millennial Territory
Orchestra.  The nine-piece outfit features some of Gotham's most original
musical voices, wicked and well-traveled improvisers who tear into and savor
Bernstein's arrangements like the tangiest Kansas City barbecue. The
selection of tunes includes classic '20s fare (Charlie Johnson's ''Boy in
the Boat,'' Bennie Moten's ''Toby'') and the kind of contemporary pop and
R&amp;B hits (Prince's ''Darling Nikki,'' Stevie Wonder's ''Signed, Sealed,
Delivered'') that have long been part of Bernstein's repertoire. The
vibrancy of the playing, the wit and sass of the arrangements, uncovers the
genetic code that makes Bennie Moten and Prince funk-soul brothers of the
first order. All this, without once conjuring the snoot of academe or
dreaded notions of ''post-modern jazz.''

The Millennial Territory Orchestra is:  Steven Bernstein (trumpet, slide
trumpet), Ben Allison (bass) Peter Apfelbaum (tenor) Charlie Burnham
(violin) Clark Gayton (trombone), Erik Lawrence (baritone, soprano) Matt
Munisteri (guitar, banjo, vocal), Ben Perowsky (drums) Doug Wieselman
(clarinet, tenor saxophone) and special guest Doug Wamble (guitar, vocal) on
''Signed, Sealed &amp; Delivered''

IN STORES 8/1.

AT RADIO...right...about.....now.  Got it?  Hope so.

Contact:
Garrett Shelton at Sunnyside Records  - garrett at sunnysiderecords.com

Also check out:  www.stevenbernstein.net

+++++++++++++++++++++++++++++++

Send jazzproglist mailing list submissions to
	jazzproglist at jazzweek.com

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