[Dixielandjazz] more pot stirring: would funk as we know it exist if it wasn't for hot jazz?

[dj outrage]

John and Sidnee Fortier wrote:
> 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.
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So what ae your thoughts on this one? I just wonder.


Would funk be as it is if it wern't for groups like
polac/whiteman/goldkett etc in the 20s that were heavily arranged but
still had solos?