wblv.wblu.fm at gmail.com
Mon Jul 31 21:50:40 EDT 2006
Thanks for the reply, Jae, I realize I was going off a bit, especially
as it relates to intonation and big bands. I mean, you can't have
everyone in the sax section playing like Jackie Mac, for instance, if
you've agreed to play together.
And that's cool you're coming from personal experience as a player. I
kind of got that from the reference to Chico Freeman. His "Spirit
Sensitive" recording is lovely, inside playing on great tunes. When he
had that side of his musical life up he was great at it. I can imagine
if he'd been away from playing tunes it would be hard to just turn
that on again, especially at the level he achieved on "Spirit
For my two cents, J Mac and Von are both stellar musicians who use the
fundamentals of pitch to express their own emotions, especially Von.
He'll move sharp to flat according to the message of the lyric of a
song, the underlying emotion of the tune. I hadn't considered J was
"unable" to play in tune as a technical fault of his embrochure. Could
be. It would seem at his level, though, it was a choice.
Not all of Braxton's music moves me -- but a least he's dealing with a
post-John Cage world of music. I recall listening to Gary Laine's (sp)
program on WKAR when I was at Michigan State and he featured Braxton
circular breathing a single uninterrupted tone, like a tone generator,
for the length of an album. Didn't really turn me on, though I "got"
One of the things about "out" jazz that I ask myself, and the musician
if I can, is what is the central organizing principle involved? Ask
Roscoe or Braxton and get ready to turn on the tape machine because a
real answer is coming. I've asked other musicians this after hearing
their record and they didn't have an answer, or said, "Nothing." And
you can tell. The Art Ensemble was a great enough band that when they
practiced it was worth hearing (thinking of the tapes in the Nessa
Box). Other folks, not so compelling at that stage.
I'm not turned off by A.B.'s embrace of the post-John Cage world of
music, the silent piano sonata or all the random and chance elements
Cage would delve into that, in essence, forces the listener to
consider just what music is.
I need to go back and read more of your response, and more of what
Rick has to say.
Of course this is about music. Programming? Programming needs to be
heard to be loved, and if jazz is further marginalized in the mass
media it's woes will continue. More day time jazz programming is the
answer. Style is secondary to access.
And if you do have jazz on during the day, then may I suggest the
radio station offers a time of day when you play one classic from the
music's past and have all the elementary and secondary schools in your
listening area tune in to it. Provide the teacher with syllabus and
schedule of the upcoming pieces. Blue Lake Public Radio does this with
classical music and more information is available at our web site,
www.bluelake.org under public radio.
And Bobby, I think you could look at what WEMU is doing in program
choices to attracted younger listners. They seem to be having some
good success at that.
(Rick -- I went to the Picasso museum last summer and if we can relate
this to jazz it's like the docent was saying, "Now you saw how great a
painter the young Picasso was. After he encounters the vivid colors,
strange perspectives and racy subject matter of France's wild beasts
he forgot where to put the nose on the lady's face, tsk tsk tsk, what
a waste." You know, missing the point. There's a lot of that these
days as relates to America's most progressive minds).
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