[Dixielandjazz] The big "discussion about the nature of jazz"

[John and Sidnee Fortier]

As a consumer rather than a producer of jazz, I have been following the discussion about the nature of Dixieland Jazz (and jazz in a more generic sense) with great interest and can, perhaps, provide a different perspective. There needs to be a reason for defining things.   As a purchaser of jazz music and an attender at live jazz performances, it seems to me useful to have some concept of the differet styles of jazz.  If I see that a live performance is going to be "cool jazz" or "modern jazz," or "free jazz" I am not likely to attend as my experience with music identified by  those terms, by say, Bill Messenger in his "Elements of Jazz: From Cakewalks to Fusion." does not appeal to me.  The same is true when I want to purchase a jazz CD.  I'd rather spend my money on dixieland, trad jazz, ragtime, swing, or bebop, as I understand those terms.  Now I sometimes enjoy more modern jazz if it has at least three elements, syncopation, improvisation, and a melody line; consequently I listen to videos on "You Tube," where I have discovered some examples of that kind of "modern" jazz.  I find that I tend to like certain modern players who seem to display those characteristics, at least some of the time.  Some examples among clarinet players (my favorite among the instruments) are Don Byron, John Surman, Gianluigi Trovesi, Andy Biskin, Adrian Cunningham, Neil Haiduck, Tony Scott, Gabriele Mirabassi, and Chris Speed.  On the other hand,  some clarinetists rarely, if ever, blend the three elements in a way I find tolerable to listen to.  Some examples of the latter would include Louis Sclavis, Anthony Braxton, Alvin Batiste, John Carter, Ken Vandermark, Perry Robinson, and David Rothenberg. (If anyone is familiar with jazz by this latter group that meet my three criteria, let me know.  I'd enjoying hearing it.   With respect to the differences among British, French, and American players of "traditional" jazz, I find the distinctions unimportant.  I enjoy them all.  It seems to me that many of the European players have been influenced by one or more of the U.S. originals. However, their differences do make them any worse.   Some follow Benny Goodman, others follow Bechet, Dodds, Noone, or even Alphonse Picou, but each has something to add..  That's the way I look at it, for what it's worth.