[JPL] I gave this article five stars.
eric-jackson at comcast.net
Thu May 3 12:11:07 EDT 2007
On Thursday 03 May 2007 11:01, Lazaro Vega wrote:
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> <<..JUST AN ADDENDUM....
> I remember Jim Wilke when you posted a critique of this work and told us
> that the critic gave it one star. I was appalled and let it be known
> then. When a critic gives a work like this ONE star, he has an agenda
> that never addressed the work. There's something else going on..>>
> That's a pretty risky assertion. It suggests (hell, it comes out and
> accuses) that someone who doesn't like the artistic content of the
> work must have
> dark motives. Might it be that the critic just didn't like it on its
> artistic merit?
> Yes, critics and publishers have an agenda. Branford's had writers
> tell him they wrote a favorable review of one of his dics only to have
> a editor give it back and tell the writer it was too positive, and
> that "we don't do that here." Not out of the realm of possbility that
> an agenda is involved.
> That said, Abby and Max did more musically with these themes than
> Wynton's achieved here. BUT, and it's a huge but, there's been little
> in the way of social insight from the world of jazz lately. Even
> Armstrong, Holiday, Ellington Brubeck and Mingus made powerful social
I'm curious as to how you measure that they did "more musically with these
themes." And of the works you referred to, do you also rank them in terms of
which is more musical? If so, I'd be curious to hear your list and why you
place them that way.
I know that when Armstrong, Holiday and Ellington made their statements it
could have cost them their lives or their livelihood so they did take a risk
that Wynton didn't take. Billie had to go to another record company to record
Strange Fruit because the company she was under contract to wouldn't record
it. Armstrong did get into trouble in the 50s and I believe it was for his
criticism of the federal governments civil rights policy. It is said that it
cost Armstrong some work. The pendulum swung the other way and later
Armstrong found himself criticized by many African Americans who called him
an Uncle Tom.
> criticisms through music. It is about time the world of jazz spoke up
> again about the state of American affairs. True, one way to ruin a
Lazaro, I'm glad you used the word again. I'm sure you are aware that a number
of artists dealt with political themes during the 60s and 70s. There were
problems with fans and critics alike, and I would imagine, some radio folks
too, who said that politics had no place in music. I remember long articles
and arguments on this point. I think that politics has been a part of music
both in Europe and Africa for centuries. And certainly some of the African
American spirituals as they were sung in the late 18th century and early 19th
century were political statements. And also in African American culture,
hymns and spirituals were changed so they could be used in civil rights
activity. I think there is a long tradition of politics ans music but some do
argue the point.
> good meal is to talk about politics but maybe we've all had enough to
> eat for awhile, eh? That, or we leave it up to the Dixie Chicks.
And although this doesn't have words, Wynton has dealt with political and
cultural ideas from the beginning. Remember Black Codes? I wonder how many
people didn't even know about the Black Codes until Wynton named his album
that. Then there is Blood On The Fields.
Are there still people around who feel the same way about politics and music?
If the artists feel that there still might be problems with critics, fans and
radio, they may be reluctant to state their views.
8 pm - mid Mon - Thurs
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