[Dixielandjazz] Re: Why Most Music Critics Don't Like OKOM

[Steve barbone]

john petters at johnpetters at tiscali.co.uk asked:

> What do you mean by a funky beat? Funky over here means rock (not
> Rock'n'roll). Was Louis Armstrong funky? Or Sid Catlett. If so I'll take
> funky, but I won't take the current version of it as understood over here.

I believe the original USA definition of funky music was applied to "bluesy
jazz. Mean, low down, depressed blues. originated probably by 1920 but I
don't know for sure about the date. When explaining "funky", US Dictionaries
refer to one meaning as "funky jazz" and go on to state: "Jazz having an
earthly quality or style derived from early blues or gospel music."  but do
not explain it further.

You are not wrong in its secondary meaning described by Dictionaries as: "A
form of rhythm & blues popular since the 1970s in which highly syncopated
polyrhythms are combined with a prominent jerky bass line, minimal harmonic
structure and declamatory vocalizing."

Bottom line? Anybody who plays the blues is funky. Certainly Armstrong was,
as was Parker, as was Catlett. I would say the "New Orleans 4/4 rhythm is
mostly "funky". The Rock & Rollers stole the word from us jazzmen. In the
USA, to call a jazzer "funky" is the ultimate compliment. It equates to his
having "soul". (another word stolen from the jazz lexicon). Seeing you on
the street in the USA, if I say "John Petters, man, you are funky", you
would smile and be very pleased. And, BTW, you are funky.
 
> What I am saying is there is
> room for creativity within New Orleans Revival style, ala Bunk etc, Swing
> Style ...Goodman, etc, Dixieland...Spanier etc. Bands do that without moving
> outside the style. A good example of an original stylist is Kenny Davern,
> who always sounds like Kenny Davern, He survives playing the broadly
> traditional style. So there is room for innovation originality etc. And yes,
> much music in traditional field around these days does not swing and that is
> because the people playing it have not studied.

I agree completely and would only add that the people who play
"non-swinging" jazz are also not funky. Kenny Davern is my hero and he is
funky. He used to carve me up regularly in loft sessions and clubs in NYC in
the 1950s. As far as I am concerned, he is the best OKOM jazz clarinetist on
the scene today. 

Relating back to the Inquirer article, I think you and I and he all agree.
That there is room to create within the broad framework. That is what you
and I both do, and what the media critics look for in any art form.

Kind of like classical pianist Glenn Gould's two versions of Bach's Goldberg
variations, recorded 10 years or so apart. VERY DIFFERENT interpretations of
the identical work. Both within the broad framework. Both valid. However the
2nd version brings something new to the party, else why record it again?
Both are available from Sony and a stunning listen for the classical heads
on the list. 

This Gould approach is what I believe in doing with OKOM. And what I believe
most bands are not doing with OKOM. Hence the big yawn from young audiences
and media critics

Cheers,
Steve Barbone