for me would be the best musician who knew only the sadness of the deepest happiness and no sadness like to date a musician has never existed.
FRIEDRICH NIETZSCHE
From jazz 's lovers of old, I went through a period when jazz was granlunga more popular today: the seventies - the decade before I had only caught the last part. Yet even then, remembering what you liked and what does not, and rebuild it, I would not say that jazz enjoyed a proper display. Plus I think that has not ever enjoyed.
In my opinion, for a reason (left in the shadows as the problem itself): that jazz is the creation of the black aesthetic that rejects the claims of the oppressed and his ideals of subject and artist, instead of black "genre "inferiority of its status, it is American (the bluesman) or elsewhere.
Jazz, in fact, two interesting things together for music: on the one hand, music "at eye level," created by the performer and that takes shape in the execution itself, other, instrumental music, not dall'asservimento mortified to the text, and opposed to nature (the song) the desired expression of a few individuals (one of the leading music and TOOLS, TOOLS only one of the musicians who chose the leaders in pursuit of a just, objective heard in shape, sound, atmosphere etc.).. Therefore, the art of a neritudine which manifests itself through quality independent (especially free unconscious by structures and, consequently, a higher allocation Music) and opposite to the corresponding powers of the West (the character idealized altomimetico and self-celebration of art, the framing of a music "without adjectives", frozen in a science in academia and that the structure is and where the nell'antiaccademismo 'identity of the author-performer is incidental).
For this reason, the existence of jazz was greeted like a strange crime. So strange that the victim would have been an early grave, ashamed to admit it and racism more than camouflaged, the most unexpected, the thinnest, to hit him. None, however, has never ostracized by the black who excels in a profession Western: the poet, the writer, the painter or the President of the United States. But the black art of which has exacerbated the energy, making it rise to a new experience, punishable by a more mundane reality, was of great annoyance to its first who should take note. The problem was to accept the existence of a music in which the individual poetics and innovations come to life only by the truth of emotion, without the academy and the academy without a struggle: to accept some "different" the aesthetic revolution. Even those who defended it was fascinated, and always using the same weapon, eminently Freudian support jazz as a specialty, as meaning the opposite of a necessity.
The Surrealists, for example, magnifying jazz as an art only wild guess and up to his potential opposition to bourgeois society, but far from them about the individuality of a Louis Armstrong or Duke Ellington. Then, in the age of bebop, a temporary approval was corrected by the action painters and beat poets, who felt a strong affinity between the heights of expression of a Charlie Parker, Dizzy Gillespie or a Thelonious Monk and theirs. As well as by Julio Cortazar, who looked like a man of jazz "Cronopio," the effigy of emotion par excellence, according to the classification of humans. While Boris Vian, who was the mentor of bebop in Paris, insisted again on the idea of \u200b\u200ba jazz suitable trigger bodily drives, with some of neglect too much about what other reasons and had other appearances (some Monk, the first Mingus, Herbie Nichols and the few whites should not be overlooked).
But the capital's "culture avec le Q" - and the European capital of jazz, after all - still a new party blunder in 1971: the highly successful book "Free Jazz / Black Power" by Carles and Comolli, with adjoining theory. For them, the free jazz of the Sixties is the only value, as jazz "left" value for which precede it, including the black music, some of which contain only text (Ray Charles, Fats Waller and blues from the texts more angry). That is, the black artist, simply migrated from the wild Arrabbiata, resta genere, e la sua arte spettacolo, soltanto che "garantito" dall'ideologia - la quale neppure è esattamente il pane del primo free (Ornette Coleman, Cecil Taylor), ma solo del secondo (Archie Shepp, Albert Ayler etc.).
Dunque, non più che una postilla alla critica talebana della vecchia sinistra: giusto l'avvertenza che una piccola parte del jazz, essendo "di sinistra", non sarebbe musicaccia alimentare dell'America capitalista. Viene quasi di pensare al monito di Togliatti agli artisti informali del dopoguerra, perché le loro tele non figuravano operai sofferenti.
Ma il problema è che l'onda lunga dello zdanovismo da salotto dei due francesi era arrivata in quegli anni a manipolare il jazz stesso (assistendolo l'Europa meglio dell'America), non soltanto la sua immagine. E con l'effetto di indirizzarlo a una certa inversione di priorità tra la cosa e la sua rappresentazione, l'ideale per non distinguere più il grande dal mediocre, l'artista dal persuasore ben pilotato. I giovani, omologatissimi anche allora (seppure intorno a cose che sembrerebbero più nobili), impazzivano per improvvisazioni fluviali alla "plus ça change et plus c'est pareil" (Sam Rivers più di tutti) e sperimentalismi sonori tra il post-weberniano e il post-cageano (Art Ensemble of Chicago, Anthony Braxton, bianchi come Steve Lacy, Evan Parker, Derek Bailey etc.), senza accorgersi che un Coleman, un Taylor, un Sun Ra, che pure amavano, erano perfettamente un'altra cosa. Nessuno supponeva di star equiparando quel meraviglioso primato dell'espressione - che è la forza autonoma e mondana del jazz - al suo opposto. Quello che contava era lo shock del negativo: la capacità di partecipare a quei feticci dell'inarrivabile come illusione di partecipare alla rivoluzione - il solito bisogno di appartenenza.
Naturalmente, lungo gli anni Ottanta tutto questo si perde, ma con il peggio in cambio, sia per il jazz che per la società. Se la società va tutta per il calcio in culo alla sinistra, buttando via abbondanti acque sporche con tanto di bambini dentro, quella del jazz, almeno tra critica e pubblico, si consegna spudoratamente alle pantofole. Riscoperte feticistiche di mezze calze, entusiasmi per bravi instrumentalists and national talent, pedantic readings musicology, musicians megabiografie historical Discomania completed, the cult of vintage covers and things like that with the greatness of jazz have nothing to do. To the point that today, outside the "specialty", jazz no longer know what it is. Who thinks the ideal background for seratine intimate (because you ran into Chet Baker or Petrucciani or Bollani and Rava), who jumble of sounds disorder (because the rock has led him to Miles Davis' Agartha "or John Zorn to most post-cageano) and a boisterous folk music of those times (because its concept has been accidentally caught it on a few swing orchestra malmimata from Hollywood).
Anyway, as I see it, if some host radio address book or some cultural columnist page or do not know who else - not so much the critical area and organizers of concerts, of which I do not trust very much - he had the instinct lighted to correct this shot, and what it was born, it could lead to a better place: one that jazz deserves more than half a century. Why do I doubt very much that those who have real need for music for his life, which is a requirement all the more psychological and aesthetic, never misses a long time if not for your hands just a little 'forties of Ellington, the Coleman Hawkins "Body and Soul" (1939), "Yesterdays" (1944) and "Picasso" (1947), a bit 'of Lester Young with small groups (1943-49), the Monk from the '40s to the '60s, the Charlie Parker quintet of the first (1945-48), the Bud Powell's "Tempus fugit" (1950) and "Glass Enclosure" ( 1953), Lennie Tristano's "Line Up" and "Turkish Mambo" (1955), the Herbie Nichols's "The Third World" (1955) and "House Party Starting" (1956), the Mingus, the Workshop ' 54 to the European tour of '64, the Max Roach's "We Insist! Freedom Now Suite" (1960) and the trio with the legendary Hasaan (1964), the triumvirate of Ellington-Mingus-Roach "Money Jungle" (1962), the Sonny Rollins of "Strode Rode" (1956) and "Freedom Suite" (1958), the Lee Konitz's "Ezz-Thetic" (1951) and "Motion" (1961), the Miles' Round About Midnight "(1956), of" Kind of Blue "(1959) and the quintet with Wayne Shorter (1965-67), the Gil Evans's" Las Vegas Tango "(1963) and "Zee Zee" (1973), the Jimmy Giuffre's trio with Paul Bley and Steve Swallow (1961), Mal Waldron's "All Alone" (1966) and "Up Popped the Devil" (1973), the Randy Weston's " African Rhythms "(1969) and" The Spirits of Our Ancestors "(1991), the Coltrane of" Giant Steps "(1959) to" Stellar Regions "(1967), the concert of Eric Dolphy at the Five Spot (1961) and "Out to Lunch" (1964), the Booker Little's "We Speak" (1961), the Ornette's "Lorraine" (1959), "Lonely Woman" (1959), "Beauty Is a Rare Thing" (1960) e "Street Woman" (1971), il Cecil Taylor del concerto al Café Montmartre (1962) e di "Silent Tongues" (1974), un bel po' di Sun Ra, dagli anni '50 agli '80, il Paul Bley del primo trio (1962-63), l'Albert Ayler del quartetto con Don Cherry (1964), il Don Cherry dei gruppi con Gato Barbieri (1965-66), l'Archie Shepp di "Le matin des noirs" (1965), un po' dell'Andrew Hill primo (1963-65) e ultimo (1999-2006), il Charlie Haden della prima Liberation Music Orchestra (1970), il Julius Hemphill di "The Hard Blues" (1972), il John Carter di "Dauwhe" (1982) e "Castles of Ghana" (1985), l'Henry Threadgill del primo sestetto (1981-86), il David Murray of the first octet (1980-82), a little 'readings monkiane Ellington and the couple-Steve Lacy Mal Waldron (80s and 90s), Paul Motian those standards with Lee Konitz (1993), the William Parker "Mass fot the Healing of the World" (1998), David S. Ware's "Flight of I" (1991), "Theme of Ages" (1999) and "Ganesh Sound" (2007).
It 'just what comes to mind, including song titles and album information and more general, seeking to take into account as much as possible that if the music is really all jazz is still a lot of things.
FRIEDRICH NIETZSCHE
From jazz 's lovers of old, I went through a period when jazz was granlunga more popular today: the seventies - the decade before I had only caught the last part. Yet even then, remembering what you liked and what does not, and rebuild it, I would not say that jazz enjoyed a proper display. Plus I think that has not ever enjoyed.
In my opinion, for a reason (left in the shadows as the problem itself): that jazz is the creation of the black aesthetic that rejects the claims of the oppressed and his ideals of subject and artist, instead of black "genre "inferiority of its status, it is American (the bluesman) or elsewhere.
Jazz, in fact, two interesting things together for music: on the one hand, music "at eye level," created by the performer and that takes shape in the execution itself, other, instrumental music, not dall'asservimento mortified to the text, and opposed to nature (the song) the desired expression of a few individuals (one of the leading music and TOOLS, TOOLS only one of the musicians who chose the leaders in pursuit of a just, objective heard in shape, sound, atmosphere etc.).. Therefore, the art of a neritudine which manifests itself through quality independent (especially free unconscious by structures and, consequently, a higher allocation Music) and opposite to the corresponding powers of the West (the character idealized altomimetico and self-celebration of art, the framing of a music "without adjectives", frozen in a science in academia and that the structure is and where the nell'antiaccademismo 'identity of the author-performer is incidental).
For this reason, the existence of jazz was greeted like a strange crime. So strange that the victim would have been an early grave, ashamed to admit it and racism more than camouflaged, the most unexpected, the thinnest, to hit him. None, however, has never ostracized by the black who excels in a profession Western: the poet, the writer, the painter or the President of the United States. But the black art of which has exacerbated the energy, making it rise to a new experience, punishable by a more mundane reality, was of great annoyance to its first who should take note. The problem was to accept the existence of a music in which the individual poetics and innovations come to life only by the truth of emotion, without the academy and the academy without a struggle: to accept some "different" the aesthetic revolution. Even those who defended it was fascinated, and always using the same weapon, eminently Freudian support jazz as a specialty, as meaning the opposite of a necessity.
The Surrealists, for example, magnifying jazz as an art only wild guess and up to his potential opposition to bourgeois society, but far from them about the individuality of a Louis Armstrong or Duke Ellington. Then, in the age of bebop, a temporary approval was corrected by the action painters and beat poets, who felt a strong affinity between the heights of expression of a Charlie Parker, Dizzy Gillespie or a Thelonious Monk and theirs. As well as by Julio Cortazar, who looked like a man of jazz "Cronopio," the effigy of emotion par excellence, according to the classification of humans. While Boris Vian, who was the mentor of bebop in Paris, insisted again on the idea of \u200b\u200ba jazz suitable trigger bodily drives, with some of neglect too much about what other reasons and had other appearances (some Monk, the first Mingus, Herbie Nichols and the few whites should not be overlooked).
But the capital's "culture avec le Q" - and the European capital of jazz, after all - still a new party blunder in 1971: the highly successful book "Free Jazz / Black Power" by Carles and Comolli, with adjoining theory. For them, the free jazz of the Sixties is the only value, as jazz "left" value for which precede it, including the black music, some of which contain only text (Ray Charles, Fats Waller and blues from the texts more angry). That is, the black artist, simply migrated from the wild Arrabbiata, resta genere, e la sua arte spettacolo, soltanto che "garantito" dall'ideologia - la quale neppure è esattamente il pane del primo free (Ornette Coleman, Cecil Taylor), ma solo del secondo (Archie Shepp, Albert Ayler etc.).
Dunque, non più che una postilla alla critica talebana della vecchia sinistra: giusto l'avvertenza che una piccola parte del jazz, essendo "di sinistra", non sarebbe musicaccia alimentare dell'America capitalista. Viene quasi di pensare al monito di Togliatti agli artisti informali del dopoguerra, perché le loro tele non figuravano operai sofferenti.
Ma il problema è che l'onda lunga dello zdanovismo da salotto dei due francesi era arrivata in quegli anni a manipolare il jazz stesso (assistendolo l'Europa meglio dell'America), non soltanto la sua immagine. E con l'effetto di indirizzarlo a una certa inversione di priorità tra la cosa e la sua rappresentazione, l'ideale per non distinguere più il grande dal mediocre, l'artista dal persuasore ben pilotato. I giovani, omologatissimi anche allora (seppure intorno a cose che sembrerebbero più nobili), impazzivano per improvvisazioni fluviali alla "plus ça change et plus c'est pareil" (Sam Rivers più di tutti) e sperimentalismi sonori tra il post-weberniano e il post-cageano (Art Ensemble of Chicago, Anthony Braxton, bianchi come Steve Lacy, Evan Parker, Derek Bailey etc.), senza accorgersi che un Coleman, un Taylor, un Sun Ra, che pure amavano, erano perfettamente un'altra cosa. Nessuno supponeva di star equiparando quel meraviglioso primato dell'espressione - che è la forza autonoma e mondana del jazz - al suo opposto. Quello che contava era lo shock del negativo: la capacità di partecipare a quei feticci dell'inarrivabile come illusione di partecipare alla rivoluzione - il solito bisogno di appartenenza.
Naturalmente, lungo gli anni Ottanta tutto questo si perde, ma con il peggio in cambio, sia per il jazz che per la società. Se la società va tutta per il calcio in culo alla sinistra, buttando via abbondanti acque sporche con tanto di bambini dentro, quella del jazz, almeno tra critica e pubblico, si consegna spudoratamente alle pantofole. Riscoperte feticistiche di mezze calze, entusiasmi per bravi instrumentalists and national talent, pedantic readings musicology, musicians megabiografie historical Discomania completed, the cult of vintage covers and things like that with the greatness of jazz have nothing to do. To the point that today, outside the "specialty", jazz no longer know what it is. Who thinks the ideal background for seratine intimate (because you ran into Chet Baker or Petrucciani or Bollani and Rava), who jumble of sounds disorder (because the rock has led him to Miles Davis' Agartha "or John Zorn to most post-cageano) and a boisterous folk music of those times (because its concept has been accidentally caught it on a few swing orchestra malmimata from Hollywood).
Anyway, as I see it, if some host radio address book or some cultural columnist page or do not know who else - not so much the critical area and organizers of concerts, of which I do not trust very much - he had the instinct lighted to correct this shot, and what it was born, it could lead to a better place: one that jazz deserves more than half a century. Why do I doubt very much that those who have real need for music for his life, which is a requirement all the more psychological and aesthetic, never misses a long time if not for your hands just a little 'forties of Ellington, the Coleman Hawkins "Body and Soul" (1939), "Yesterdays" (1944) and "Picasso" (1947), a bit 'of Lester Young with small groups (1943-49), the Monk from the '40s to the '60s, the Charlie Parker quintet of the first (1945-48), the Bud Powell's "Tempus fugit" (1950) and "Glass Enclosure" ( 1953), Lennie Tristano's "Line Up" and "Turkish Mambo" (1955), the Herbie Nichols's "The Third World" (1955) and "House Party Starting" (1956), the Mingus, the Workshop ' 54 to the European tour of '64, the Max Roach's "We Insist! Freedom Now Suite" (1960) and the trio with the legendary Hasaan (1964), the triumvirate of Ellington-Mingus-Roach "Money Jungle" (1962), the Sonny Rollins of "Strode Rode" (1956) and "Freedom Suite" (1958), the Lee Konitz's "Ezz-Thetic" (1951) and "Motion" (1961), the Miles' Round About Midnight "(1956), of" Kind of Blue "(1959) and the quintet with Wayne Shorter (1965-67), the Gil Evans's" Las Vegas Tango "(1963) and "Zee Zee" (1973), the Jimmy Giuffre's trio with Paul Bley and Steve Swallow (1961), Mal Waldron's "All Alone" (1966) and "Up Popped the Devil" (1973), the Randy Weston's " African Rhythms "(1969) and" The Spirits of Our Ancestors "(1991), the Coltrane of" Giant Steps "(1959) to" Stellar Regions "(1967), the concert of Eric Dolphy at the Five Spot (1961) and "Out to Lunch" (1964), the Booker Little's "We Speak" (1961), the Ornette's "Lorraine" (1959), "Lonely Woman" (1959), "Beauty Is a Rare Thing" (1960) e "Street Woman" (1971), il Cecil Taylor del concerto al Café Montmartre (1962) e di "Silent Tongues" (1974), un bel po' di Sun Ra, dagli anni '50 agli '80, il Paul Bley del primo trio (1962-63), l'Albert Ayler del quartetto con Don Cherry (1964), il Don Cherry dei gruppi con Gato Barbieri (1965-66), l'Archie Shepp di "Le matin des noirs" (1965), un po' dell'Andrew Hill primo (1963-65) e ultimo (1999-2006), il Charlie Haden della prima Liberation Music Orchestra (1970), il Julius Hemphill di "The Hard Blues" (1972), il John Carter di "Dauwhe" (1982) e "Castles of Ghana" (1985), l'Henry Threadgill del primo sestetto (1981-86), il David Murray of the first octet (1980-82), a little 'readings monkiane Ellington and the couple-Steve Lacy Mal Waldron (80s and 90s), Paul Motian those standards with Lee Konitz (1993), the William Parker "Mass fot the Healing of the World" (1998), David S. Ware's "Flight of I" (1991), "Theme of Ages" (1999) and "Ganesh Sound" (2007).
It 'just what comes to mind, including song titles and album information and more general, seeking to take into account as much as possible that if the music is really all jazz is still a lot of things.
