[Dixielandjazz] of cool and of altered consciousness

[Tito Martino]

Jim Denham wrote answering to Nancy:

<<<Mezzrow/Ladnier (Royal Garden Blues/If You See me Comin'), Eddie
Condon's
Quartet (Indiana/ Oh Baby), "The Jungle Band" (New East St. Louis
Toodle-O
/Ridin' On A Blue Note), the Benny Goodman Quartet (Runnin' Wild/
Moonglow) The Venuti-Lang Allstars (After You've Gone/Farewell
Blues)...and finally The Louis Armstrong Allstars (Basin Street Blues
parts One and Two).
What I liked about those sides was that they sounded "cool" (as well as
"hot"): very unlike the "uncool" and embarrassing British trad of the
day.>>>

I can't imagine what is cool about these records. To me they epitomize
the best of hot, extrovert, emotional, organic, happy, creative kind of
Jazz.
Help me please Jim: what's your definition of "cool"?

1. cold, distant, unemotional
2. hip, freaky, =E0 la mode=09
3. clear, transparent, uncomplicated
4. other=20

And the other Jim, Master Beebe, stated:


<<<In my opinion, much of what is unique and oustanding in jazz came
about in states of altered consciousness, which induced by various drugs
or some kind of meditationaly or naturally induced increased state of
awareness.>>>

Dear Jim, I partially agree; with all my respect for your observation, I
think that a generalization of this point can be misleading to many
starters.=20
I believe that ALL the outstanding jazz players are outstanding because
of a inner and natural capacity of increasing his consciousness or state
of awareness; I mean, they can do that naturally, more than "normal"
people can do.  Most of outstanding players stay satisfied with their
natural gift; (and Clifford Brown is an example) others, if lazy, or for
other complicated reasons, reach for more end more and end on drugs. The
wise and hardworking expand their consciousness just training their
mind.

During my first tour to the USA, I discovered ( Jack Bradley told me)
that Louis was a daily smoker of weed; in consequence, I tried too at a
Concert and was totally deceived by the bad music I produced, when I
listened next day to the live recording.

In the other hand, the simple willingness of communicating love and
sincere happiness and profound feelings (even sadness) to the public,
added to a good technical skill and knowledge of Jazz Roots, invariably
produce outstanding performances.  This is my experience.

Respectfully,
Tito Martino
Sao Paulo Brazil   =20