[Dixielandjazz] Dadaism and early jazz "The Big Picture in aNutshell"

[Richard Broadie]

Hi David (and list),

Is this what you're saying?

Attributing the influence of such as Diarists upon composers, arrangers and
performers by such as historians, critics and cultural archivists et al who
can't, themselves, compose music, arrange music, or perform music or
understand music is the means for said historians, critics and cultural
archivists et al to make a buck.

That makes sense.

But why do many, including some of the more brilliant minds of this list,
attribute validity to such concepts where little may exist? Being
experienced with psudointellectualism, having survived the halls of academia
for sufficient time to consider this field to at least be a graduate level
minor of mine, I find myself slipping into writing words, such as those
above, that make no sense whatsoever.

Perhaps with practice, I too will eventually become a historian, critic or
cultural archivist or even an et al, thereby making more bucks than I can
possibly make gigging at the local American Legion on Friday night.

Most of the guys I know and have performed with for the last 45 years who
really compose, arrange and/or play well are simply inspired by money and/or
having a good time. I have yet to hear any of them say, "Gee fellas, I'm in
a Dadaistic mood tonight. Let's lay down Diadaistic Blues in Bb!" With this
latter, simplistic and honest assessment, I'll not make the bucks of the
historians, critics or cultural archivists, et al. - at least until I
discover, explore, practice and perfect the famous Dadaistic scale!

In jest.

Dick Broadie





----- Original Message -----
From: "david richoux" <tubaman at batnet.com>
To: "djml" <dixielandjazz at ml.islandnet.com>
Sent: Thursday, May 29, 2003 3:43 PM
Subject: Re: [Dixielandjazz] Dadaism and early jazz "The Big Picture in
aNutshell"


> Dick (and all )
>
> The way I see it - the big picture is: real artists and real musicians
> use their technical skills and equipment to create  or interpret all
> sorts of stuff that involves social and historical elements ranging
> back to the dawn of civilization into something that can be new, like
> new, old, junk, "kitsch," popular, unpopular, commercially successful
> (or a failure,)  critically acclaimed (or panned) a "job" or a "hobby"
> or "craft," a "statement" or an academic example, a masterpiece of
> design that could be worth millions of dollars or a $10 street cartoon
> (or a Fats Waller tune sold for the price of a bottle of booze) or
> symphony or opera... it is all "art/music" in one interpretation or
> another.
>
> It is up to the historians, critics and cultural archivists to figure
> out what the heck is going on with all those crazy artists and
> musicians - to give it a name or a category to whatever it is that we
> all do... and it is up to those businesspeople, dance-hall owners,
> record producers, film moguls, gallery owners , etc. to develop the
> cash (or promise of cash) to get all this stuff happening and the
> general public to absorb it all, to enjoy or reject as they see fit.
> (and to pay the piper...)
>
> Is that enough of an explanation for ya?
>
> Dave Richoux
>
>   toOn Thursday, May 29, 2003, at 14:25 US/Pacific, Richard Broadie
> wrote:
>
> > " Dadism and early jazz"
> >
> > Gee, guys & gals, I only have a graduate degree in Public
> > Administration.  I
> > haven't understood a single thing that's going on with these
> > philosophical
> > thesises so profoudly delineated herewithin.  How 'bout talking about
> > a good
> > tuba mouthpiece or what size thimbles work best with Gunter's latest
> > washboard or something else that I can understand?
> >
> > Confused, humbled and feeling quite illiterate in the Palm Springs
> > heat.
> >
> > Dick Broadie
> >
> > PS
> >
> > :-)    !!!!!
> >
> >
> >
> > _______________________________________________
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> > Dixielandjazz at ml.islandnet.com
> > http://ml.islandnet.com/mailman/listinfo/dixielandjazz
> >
>
>
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