Re: Fwd: Re: Re: Blue Note: Flushing jazz down the toilet

From: BAO (tunde@arches.uga.edu)
Date: Thu May 11 2000 - 16:18:27 MET DST

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    didnt some popular emcees go to school in california....i dont know if
    berklee.
    kids from hieroglyphics?

    On Thu, 11 May 2000, Erik Gaderlund wrote:

    > >
    > >
    > >> Hmm, what about all the guys who dropped out of Berklee once they got
    > >> a good gig, sorry no names come to my mind.
    > >
    > >Jan Hammer, Pat Metheny, Chick Corea--almost anyone famous you can think of
    > >that went to Berklee dropped out when they got a good gig!! That still
    > >doesn't stop the school from mentioning them--everybody wins...
    >
    > Thanks for the help
    >
    > > >But, don't you think
    > >> that having an artform studied in school, is a definite sign of its
    > >> maturity? It may not help the 'cause', but, it does show people are
    > >> listening.
    > >> erik g
    > >
    > >it cuts both ways. the study shows the "respectability" of the art, but the
    > >acceptance from the mainstream diminishes the perception of being
    > >"revolutionary."
    > >
    > >personally, i think that there is still much that can be done with jazz if
    > >people will look at the spirit of jazz as opposed to the *conventions.* a
    > >resistance toward bending or at least *examining* the "rules" is what leads
    > >to the death of an art form.
    >
    > Just as Bop-, broke Cool-, broke Hot-Jazz, but, I think many of those
    > who would be incredible musicians have moved on to other things--like
    > why 'Classical' music seems so dead, but, Goreki, Corigliano, and
    > others do have something more to say.
    >
    > > > as for Blue Note, they do have Charlie Hunter, and recently signed
    > >> MM&W who put out a 'straight-ahead' album "tonic", no mindless
    > >> meandering. And, the Europen arm is the one that releases Erik
    > >> Truffaz, those who are trying to look forward,
    > >
    > >don't forget saint-germain--a good direction for them, i think (hopefully
    > >this can redeem the bad ending of the Us3 experiment).
    >
    > Us3 was good in concert they had some great musicans, the album
    > struck me as rather tepid.
    >
    >
    > > >but, you've got to
    > >> realize once jazz lost its audience to R&B and Soul, it became the
    > >> domain of the White Middle class, who now sustain, the Hip-hoper, or
    > >> at least their children do.
    > >
    > >i don't know about that last statement. as a record store employee &
    > >blackman, i can say that there are plenty of non-white people that buy jazz
    > >& hiphop. as far as the big names (in both genres), sure they wouldn't be
    > >as big without popularity w/white buyers, but in jazz (which is *less* about
    > >entertainment than hiphop) i don't think that there's the same type of
    > >pandering toward a particularly white audience--i.e., people that like
    > >jazz-flavored pop come in many colors. i guess i'm feeling that the people
    > >you're talking about matter more because of their class
    > >(middle/upper-middle) than their race--which i think is more varied than
    > >you're accounting for.
    >
    > I was mostly regurgitating some article I wrote, and, how the
    > audience does change the music, using an aforementioned example,
    > 'Classical' was the 'Pop' music of Europe, so once the audience
    > changed the music did with it--granted that is a bit of a
    > simplication. An amusing counter example is a white friend of mine
    > who got really irritated when his black girlfriend always changed the
    > radio station in his car to a light 'jazz' station from the PBS
    > _jazz_ station (WBEZ in Chicago) he always listened to.
    >
    > erik g
    >



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