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

[Martin D. McKay]

Good post.

-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of John and Sidnee
Fortier
Sent: Monday, January 17, 2011 12:25 PM
To: Martin D. McKay
Cc: Dixieland Jazz Mailing List
Subject: [Dixielandjazz] The big "discussion about the nature of jazz"

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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