[JPL] Christian Scott & playing jazz

Derrick Lucas derrick at jazz901.org
Wed Jan 11 17:55:30 EST 2012


I was at Nicolas Payton’s BAM Town Hall Meeting last week


Brother Payton’s main thrust of creating BAM was younger black listeners
will check out “jazz” and the blues if the J-word is no longer used, to
describe the music. Another opinion Payton offered, is that young African
Americans have a negative perception of jazz, it’s culture and* the
perceived* lifestyle it promotes- having to be dressed up for shows, music
without words, not an easily identifiable groove, hook, vamp or beat that
is danceable, and most importantly music that isn't from the street i.e.;
not relevant to the world that young African Americans live in.


That said I recently went to a jam session where I noticed some interesting
things.

-First I was oldest person there (I’m 41)

-Second no one was dressed up,

-Third there was a 70/30 black to white ratio of the crowd .

-Forth the folks were playing and cutting each other with versions of
current radio hits (Drake, Lil Wayne, Nicki Manaj) as well as classic Blue
Note hard bop, Tutu period Miles, Ornette Coleman and James Brown and The
JB's

-Fifth the crowd totally understood and enjoyed what was going down



So younger black kids and for that matter kids of all colors are creating
jazz, it’s just in their own language, for their time .


On Wed, Jan 11, 2012 at 4:54 PM, Bobby Jackson <ftapache1 at sbcglobal.net>wrote:

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> ---
>
> Hi Jae,
>
> I think it's too closed and doesn't address all the tributaries that go
> into making it work in the first place.  I've had conversations with
> musicians, programmers, record company execs for years and seen our numbers
> dwindle and dwindle audience wise as well as stations who carry
> programming.   There is music that Chick, Herbie, Wayne, Miles play that is
> not welcome at particular stations who compartmentalize under the banner
> generally speaking "acoustic jazz."  Does that make the creative aspect of
> the use of electronics in music any less valid?  Does it make it a funk
> groove or a reggae groove or a rock groove any less spectacular?  Why do we
> look to 1959 as the pinnacle of this music.  That was great music of course
> but it seems to define what is great music in 2011 and the "core" of what
> is acceptable across the board in presenting jazz music as a consensus
> nationwide.   That doesn't happen so much outside of North America.  It's a
> complicated question and there is no one answer that I believe can satisfy.
>  I do believe that the notions of what is and isn't should open up a little
> more than it is.  We should be as open as the very people we applaud,
> musicians such as Miles and Chick and Herbie.  Christian McBride.  I don't
> believe we are and we're shooting ourselves in the foot.  Hosts should be
> able to draw the connections and align the dots to all of these different
> approaches and make more interesting programming.
>
> I think I came up in what was IMO  the greatest time for radio in arguably
> the greatest city for music.  New York.  I remember WBLS with Frankie
> Crocker who made a home for acoustic, electric, R &B, Latin, etc. and made
> it all work.  WRVR was also programming electric right alongside acoustic;
> forties alongside seventies.  That doesn't happen much around the dial.  It
> is too predictable which is not a great thing.
>
> Bobby Jackson
> THE JAZZ MIND
> www.thejazzmind.com
> ftapache1 at sbcglobal.net
>
>
>
>
>  On Jan 11, 2012, at 3:18 PM, Jae Sinnett wrote:
>
> > THIS WEEK'S SPONSOR: The JazzWeek relaunch -- JazzWeek 2.0 --
> crowdfunding project has launched. Visit http://www.indiegogo.com/jazzweekfor more information. Become part of the solution.
> >
> > ---
> >
> > Paul, yes an old problem but it's never reached solutions so
> considering...oddly these problems remain new. In fact they've gotten worse
> in my view. Frustrating really. I recorded my first record over 25 years
> ago...with John Hicks, Frank Foster, Wallace Roney and company. I couldn't
> tell you how proud I was to be playing jazz. I don't feel any differently
> today. I play other styles of music as some here know but when I'm playing
> jazz there is an unrelenting feeling of exhilaration and as much as I enjoy
> playing different music none bring me that level of creative satisfaction.
> >
> >  I've always wondered why other genres of music don't seem to have the
> layers of separation issues as jazz appears to. Much of this conversation
> has been about folks wanting to abandon the jazz mantra. Rockers don't do
> this in droves. EWF will tell you they're playing soul in a heart beat.
> They don't run from the labeling like many in jazz seem to be doing. The
> only reason I can think of why this happens is from a marketing standpoint.
> If it's rock radio...they tell you it's rock radio loudly. We should be
> proud to say we play jazz.
> >
> > Bobby...a bit of devil's advocate here...and just to make sure I
> understand your point...are you saying we should abandon the "jazz" format?
> Or keep it jazz and expand the boundries of what can musically fall under
> the jazz umbrella? If your position is the first wouldn't that be the start
> of wiping out the genre all together?
> >
> > Jae Sinnett
> >
> >
> > ________________________________
> > From: Paul Combs <pcomb at comcast.net>
> > To: jazzproglist at jazzweek.com
> > Sent: Wednesday, January 11, 2012 2:44 PM
> > Subject: Re: [JPL] Christian Scott & playing jazz
> >
> > THIS WEEK'S SPONSOR: The JazzWeek relaunch -- JazzWeek 2.0 --
> crowdfunding project has launched. Visit http://www.indiegogo.com/jazzweekfor more information. Become part of the solution.
> >
> > ---
> >
> > For what it's worth, here's my take. This is an old problem, but the
> word "jazz" has survived the controversy before. It has come to mean, at
> least to me, an approach of music making that grows out of the
> African-American experience, and a long collaboration with folks who are
> not African-American.  It is an approach that is open-ended, and yet always
> has something of its "dna." There is something about Christian Scott's
> music, or Nicholas Payton's music, or Maria Schieder's music, or the late
> Paul Motian's music, or Cecil Taylor's music, . . . (I hope you get my
> point here) that we hear as "jazz."  I propose we do is work hard to get
> the public-at -large to realize that when we say "jazz" we are talking
> about this large open-ended medium, that carries its history in one way or
> another.
> >
> > Yes, I prefer to be identified simply as a musician, but folks don't
> seem to understand that. Saying that I am a jazz musician, helps them to a
> certain extent, although there are times when one or another are
> disappointed when I stray from there concept of "jazz." That being said, I
> remain comfortable with the word in a general, and I am proud to continue
> walking down the path trod by the "jazz" musicians who have come before me,
> where ever it may lead me, and whatever I may produce to pass on to others.
> >
> > Paul Combs
> >
> >
> >
> > --
> >
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