[Dixielandjazz] Re: Art

Mike Durham mikedurham_jazz at hotmail.com
Fri Dec 5 09:10:30 PST 2003

Bill, everybody: There was a good parallel in the world of visual art last 
year, when the City of Birmingham (the English one) sponsored an exhibition 
consisting of empty frames. There was a title card beneath each one ("Summer 
Idyll", "Storm Over The Hills", that sort of thing) and the viewer was 
invited to visualise his or her own painting on this theme. We are thinking 
of doing the same thing: we turn up at a concert, issue the audience with 
our playlist, invite them to imagine how it would sound, then we go home 
(after making sure we have our fat fee, of course). Though to be really 
purist, I guess we should dispense with the playlist....... come to think of 
it, this sounds like a good way to get a large Arts Council grant. Recently 
they gave an "artist" money to paint words on a flock of sheep: the idea was 
to let the sheep run loose and see if their random movement generated
a meaningful statement. In a just world, they would have spelled out 
"there's one born every minute".......

Hey ho,

Mike D.

>From: "Bill Gunter" <jazzboard at hotmail.com>
>To: paul.edgerton at eds.com, dixielandjazz at ml.islandnet.com
>Subject: RE: [Dixielandjazz] Re: Art
>Date: Fri, 05 Dec 2003 01:54:37 +0000
>Edgerton wrote (regarding Durham's 4' + work):
>>It has been said that the process of sculpting is a simple matter of
>>removing everything that is not a statue. In the same way, music is best
>>when pared to the essentials -- the Baroque period notwithstanding. In 
>>context, I am pleased to announce publication of my latest composition
>>entitled "Seventeen Microseconds."
>I recall a thread on the subject of the "Perfect Solo."  The thesis was 
>offered that most solos are random noodling around for the best notes and 
>the most perfect solo would be one where the "essence" of the solo is 
>reduced to the ONE perfect note.  Then, since the resulting note would be 
>the most obvious one it would become a redundancy to actually play it and, 
>as a result, the artist should simply show up for the performance but not 
>play his "note" out of respect for the intelligence of the audience who 
>would resent having the obvious flung in its face, then pack up his horn, 
>collect his gig pay and go home.
>Respectfully submitted,
>Bill "   " Gunter
>jazzboard at hotmail.com
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