[Dixielandjazz] Re: Old Recordings and Styles vs. New

[Steve Barbone]

JOHN PAPPAS at OArkas at aol.com at OArkas at aol.com wrote:

>Hi:
>Interesting subject!   Traditional ("dixieland") jazz is like folklore, but it
is/was also a form of >"pop" music.   There's a difference, but there are
also cross overs.   There can be lots of >discussion on that.   But... to
the extent that it's a form of folklore, then the folklorists will
>emphasize the concept of "context."   Who (when) is/was the audience, and
when/where/how was >the folklore performed.   Folklorists might say that
without the folk audience, the folklore (in >this case the trad jazz) can't
really exist in that form any more.   In other words, different >time,
different place, different audience, and the music doesn't exist in a valid
context anymore.  > So those who say they don't listen to the old recordings
for whatever reason, have a valid point.
>However!   On the other hand:   One definition of a "classic" (ie Mona Lisa,
classic music etc.) is >that the "art" speaks across generations, time
periods, cultures, and geographical boundaries.   >Our music seems to do
that also.   So, if this music and these songs are classic and universal,
>then they can't be thrown out or ignored, and they are important and can be
played in the old >styles and ways!
>So, now that I've said all this, I guess my opinion is that both ideas are
valid.   It all depends on >what the individual likes and how the music
talks to him/her.   Confusing maybe, but that's what >this thread got me
thinking about out.
>I always enjoy our dixieland jazz list.

John & List mates:

I agree completely. There will always be a small audience for older forms of
music. Just as there are some "collectors" of virtually every thing ever
made from beer cans to bottle caps. And so bands can reprise Benny Goodman,
or 1920s dance music, or King Oliver, or Gregorian Chants, or whatever, and
still find an audience, however small.

And if they are promotion minded like Vince Giordano, and as talented as
Vince, or Ken Peplowski, or Dan Levinson, et al, they will succeed. (read
find an audience) And that is laudable. It all depends upon what the band is
trying to accomplish.

On the other hand, in order for most bands to succeed in a genre like OKOM,
especially if they are working music for a living, (read find an audience 5
days a week)  the music needs to be relevant to the mass audience, not just
folks interested in musical art and history. It must "exist" in the here and
now for the common folks.

IMO, of course.

Cheers,
Steve