[JPL] Ornette - the truth can finally be told
philipbooth at tampabay.rr.com
philipbooth at tampabay.rr.com
Tue May 1 11:20:12 EDT 2007
Speaking of free jazz ... I heard a great set by tenor saxophonist
Edward "Kidd" Jordan and the Improvisational Arts Ensemble at the New
Orleans Jazz and Heritage Festival over the weekend. He was joined by
Kent Jordan (flute/piccolo), trumpeter Clyde Kerr, bassist William
Parker and others.
The jazz tent was also the site of good sets by Astral Project, Mose
Allison, Dr. Lonnie Smith, Arturo Sandoval and several other
performances that I missed while checking out other stages.
Jazz Fest is alive and well, and continues next weekend.
----- Original Message -----
From: Lazaro Vega <wblv.wblu.fm at gmail.com>
Date: Tuesday, May 1, 2007 10:04 am
Subject: Re: [JPL] Ornette - the truth can finally be told
To: Jazz Programmers Mailing List <jazzproglist at jazzweek.com>
> This Week's JPL Sponsor: Voluntary Donors
> Sure, "post modernism" is about ignoring borders, though there's a
> wide expanse emotionally/intellectually and spiritually between
> and the heights of jazz expression. Several artists have tried, and
> succeeded, in marrying the two: Patricia Barber, especially, and The
> Bad Plus -- have you heard "Tom Sawyer" on their new disc?
> Yet "place" wasn't the main issue in Teachout's article, for me, but
> the notion that Ornette established himself a long time ago as a jazz
> figurehead. Well, yes and no. What Ornette did made possible the two,
> generally two, worlds of jazz we live in today: those who play in
> form, no matter how far form is stretched, and those who play free
> form. He opened the doors to another means of organizing
> improvisations and the door turned into a floodgate.
> Now Ornette was not the only one to do this and his was not the only
> model to follow, yet because of his Five Spot engagement and the
> attendant media coverage, his message got through where after
> years of
> trying the traditional jazz routes Cecil Taylor was shut out.
> There's been a tremendous amount of critical action to discredit the
> free form "camp" since the return of Dexter Gordon from Europe, the
> return of Art Pepper from prison and the great work Art Blakey and
> Betty Carter in the 1980's which placed a focus in jazz on past
> developments. It's as if we, or Stanley Crouch, couldn't look back to
> those great methods without pouring salt on what Ornette wrought.
> Crouch appreciates Ornette but the developments in jazz Coleman made
> possible are wrongly affixed to European concert music (see The Bad
> Plus web site feature "Do the Math" for insight into Crouch's
> declarations to that effect). There are almost two generations of
> musicians who've grown up thinking "free jazz" is a pile of crap. So
> the significance of the award is to re-focus attention on the last
> great shake up of jazz methodology and approach by its living master.
> And, Sound Grammar is a welcome return not only to active touring by
> Coleman but also to acoustic instrumentation and to a group format he
> previously explored only in concert. (Kalaparush did a suite of music
> with the two bass, drums and saxophone instrumentation in the 1970's,
> I'm down with it. Of course, the award may have little or no
> effect on
> reversing perceptions.
> And I believe Wynton's Pulitzer was awarded in the classical category
> -- Blood was not considered a jazz work from what I understand.
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