[JPL] Branford Marsalis thoughts on "Nerd Jazz"

Jae Sinnett jaejazz at yahoo.com
Fri Sep 25 14:24:22 EDT 2009

I know first hand that Branford "feels" everything he plays. I've played with him. At times complexity can be confused with intellectualism and that's where it stops with some based on their interpretation or understanding. Understanding is the first thing and then making that feel good is another from the musician perspective. His take on "Love Supreme" was termed intellectual my some critics but what's funny about that is "A Love Supreme" is mainly based on simplistic blues themes...mainly minor in tonality. Intellectual? The reason that record reached so many people is because of the power and "feel" of the music and quite frankly Branford and the quartet killed it and reached the objective in my view. If someone embraces familiar II V material usually then chances are just about anything outside of that will sound intellectual and in too many cases...put down by way too many IN the industry. Students today want to learn how to play in 7
 before 4/4. Branford is correct here but that's how they're being taught. The blues is even dismissed as musical 101 noodling in many programs...completely missing the point of the objective of emotional content.  

In reference to the comment about programming to "our" moods...speaking for myself...it doesn't happen for me. That's playing solely to what I like at the expense of my audience. How do we know how people feel? My approach is that I program to create a musical and thought provoking and varied sequencing of material that taps into many mood. It's like a journey. Now with "theme" programming that's a different issue but in general I don't think that is a good way to program. 

Jae Sinnett  

----- Original Message ----
From: Doug%20Crane <dcrane at comcast.net>
To: jazzproglist at jazzweek.com
Sent: Friday, September 25, 2009 1:59:58 PM
Subject: Re: [JPL] Branford Marsalis thoughts on "Nerd Jazz"

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Here's a link to an essay about Branford that Ben Ratliff wrote for the NYTimes a few years back: "Walking a Beat With an Officer of the Jazz Police" http://www.nytimes.com/2006/10/06/arts/music/06mars.html?pagewanted=1&_r=1 .  It also appears in Ratliff's "THE JAZZ EAR: CONVERSATIONS OVER MUSIC", an excellent collection issued last year including conversations with Sonny Rollins, Wayne Shorter, Roy Haynes, etc.  Well worth reading.  Branford expounds at a little more length about things touched upon  in the Buchanan piece.  Here's a brief quote from the essay: ' One of Mr. Marsalis’s tough-love opinions is that jazz has precisely the level of exposure it deserves. “Musicians are always talking about, ‘Why isn’t jazz popular,’ ” he said. “But musicians today”— and he was talking specifically about jazz musicians — “are completely devoid of charisma. People never really liked the music in the first place. So now you have
 musicians who are proficient at playing instruments, and people sit there, and it’s just boring to them — because they’re trying to see something, or feel it.”' 

Doug Crane 

KUVO Denver 

dcrane at comcast.net 

----- Original Message ----- 
From: "Dr. Jazz" <drjazz at drjazz.com> 
To: jazzproglist at jazzweek.com 
Sent: Thursday, September 24, 2009 8:32:34 PM GMT -07:00 US/Canada Mountain 
Subject: [JPL] Branford Marsalis thoughts on "Nerd Jazz" 

*Any comments on Branford's description of "Nerd Jazz"? 

by James Buchanan 

September 24, 2009, 7:27 am 

The other night I was listening to the host of a jazz program on the 
Boston NPR station talk with Branford Marsalis. During their discussion 
Branford described another musician as not being among the "nerd Jazz" 
set. Asked about the term "nerd jazz," he said that there are many jazz 
musicians that have begun their careers in the past 20 or 30 years that 
have been educated in jazz (he noted that jazz has become in many 
instances a music for intellectuals and that it has been absorbed into 
academia as opposed to being learned through the experience of playing 
and life lessons) but lack a certain emotional quality to their playing. 

By this he meant that they have learned to a high degree the techniques 
of playing jazz music and are exceptional musicians in terms of their 
precision in playing and the other learned skills that come with playing 
this very complex musical form and they can talk about technique in a 
very educated manner. However, they lack an emotionally compelling 
component to their music making them really half a musician--they have 
the nerd half of being a jazz musician. 

Therefore, as Brandford described this one musician he said he was a 
complete musician in that he not only had the technique down, but he 
brought an emotionally compelling aspect to his music; something that 
made the listener feel more than the notes and style by reaching into 
the deep panoply emotions and emotional experience behind our individual 
interaction with music. Branford went on to say that this quality is 
something that can't necessarily be taught. It can be nurtured and 
encouraged, but it comes from living a life with a broad array of 
experience and the ability for that to come through in the music in 
terms of how it is played. 

What he said spoke directly to me and relates to thoughts that I have 
had about writing. I would say that there is an analogous writer-type 
that could be called "nerd writing" where the individual has been well 
educated in technique, writes with a fluent understanding of technique, 
and can expound on the finer points of technique in a very educated 
fashion, but still lacks an emotional component to their writing and 
story telling that would make it consistently interesting and evocative. 
Their is no single form that I believe has suffered from "nerd writing" 
than short stories. There are so many wonderful writers creating them, 
yet there is a lack of compelling short stories. Perhaps to the editors 
selecting these stories there is something compelling in the quality of 
the writer's technique, but there needs to be more than that for stories 
to be interesting and compelling reads. 

By contrast, and this is not a short story, I would suggest people go 
and read Middlesex by Jeffrey Eugenides. He is an eminently talented 
writer in terms of not just his technique, but in his ability to render 
an emotionally compelling story. 


Dr. Jazz 
Dr. Jazz Operations 
24270 Eastwood 
Oak Park, MI  48237 
(248) 542-7888 
SKYPE:  drjazz99

"The arrangements show thought, daring, care and concern that they and this music be given some serious listening."  Ron Carter

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