[Dixielandjazz] Jazz

[Robert S. Ringwald]

An interesting article well written--Charlie Saloio

"...a diversity that is natural, rather than legislated or self-consciously
imposed.

Jazz embraces an infinite range of voices, backgrounds, ethnicities, ages
and philosophies into a fellowship with a common goal: the making of
wonderful music."

JAZZ AND HEALING


By Dr. Judith Schlesinger


It will take years for all the shuddering to settle down. Many writers,
while
scrambling to

find something positive in the immense tragedy of September 11, have
predicted that

we'll lose our appetite for cinematic violence and fiery death, now that
their ugliness has

become so personal. In fact, Schwartzenegger's latest bang-bang was recently
pulled from release, advertising in general has toned down, and even TV and
radio stations have altered their programming, afraid of offending our
newly-enhanced humanitarian

sensibilities.


One horrible day has suddenly exposed just how disrespectful our media
habits
are to the

human spirit....  how cynical we've been to make heroes out of "musicians"
who spit poisonous rage into the microphone....


There could be no ruder awakening. But even a brutal and involuntary

awakening still counts. For once, and for however long it lasts, the world
is
focused on

what can soothe and unite us, rather than its usual shrill and greedy vibe,
as jangling

and artifically energizing as caffeine. And in the search for healing, jazz
has much to

offer.


For one thing, jazz isn't a music for haters. "Jazz people are peaceable,"
Dizzy Gillespie

once said, " they're too busy trying to figure out the music." This is a
music that rewards such figuring out, a multi-layered experience that
encourages

contemplation and the search for understanding.


Classical music is heady stuff too, but it doesn't revere the individual
player to the same

extent; while its stars are idolized, they have little freedom to rearrange
the score—in

contrast, jazz musicians are admired for doing so, and for having the
imagination,

courage, and training to try.


This freedom is democratic, a diversity that is natural, rather than
legislated or self-

consciously imposed. Jazz embraces an infinite range of voices, backgrounds,
ethnicities, ages and philosophies into a fellowship with a common goal: the
making of

wonderful music.


Achieving this goal requires mutual support and respect and listening to

each other; the player who makes only narcissistic noises finally touches
nobody else.

Good improvisation involves a communication style well worth emulating (just

imagine how things might improve if Congress worked together like a
top-level
trio).


Jazz also encourages a healthy mindset in its audience, since the full
enjoyment of

improvisation requires a certain degree of cognitive flexibility. The
listener must be

willing to loosen his moorings a bit, let go of the familiar and
predictable,
and truly open

to someone else's vision. At the very least, he cannot seize up at the sound
of something foreign or new; at best, his ears will keep growing, with
commensurate

expansion of mind and heart.


Finally, one of the wonders of jazz is its infectious joy—the grins and
musical jokes, the

delight of surprise, the bluesy energy that can leech out the pain, and the
swing that

drives it away. To be participant, or witness, when a band is really
cooking,
to share that

magic when everything is right, is something that's more precious than ever;
transcending tragedy and terror, it lifts the spirit and reminds us how much
good is possible in the world. Hey, maybe people will even stop snarling
over
which jazz is

"real" and which isn't, and concentrate on delivering the special sounds
that
celebrate

the individual and build community at the same time. What a great example
that would be...
###


Judith Schlesinger is a psychologist, musician, and author whose last

book was a film biography of Humphrey Bogart. She is currently working on
"Dangerous Joy: The Mad Musician and Other Creative Myths." It will be
published by Shrinktunes

Press sometime before the next millennium. She has written reviews for
allaboutjazz, the All-Music Guide, and 52ndstreet.com, while her ruminations
on psychology,

education, and culture have appeared in the Baltimore Sun since 1996.