Think You Don't Like It?
I often
hear folks proclaim that they don't like Jazz. They never say why and I'm
always tempted to ask what they know about Jazz. Now, in polite conversation no
way can I administer a lesson. But it remains that many who say they are not
fans tend to view Jazz in a narrow manner, as if all it is is the particular
style they once heard and rejected.
Au contraire, mon ami, as they say in France. Here's bits from my The First Book of Oregon Jazz ...
Jazz music -- what it is and what it is not -- has been debated by both
afficionados and critics ever since it became a recognized name. After the
shouting, most reasonable souls will agree that there is virtually no short,
simple definition of this art form.
And art it is, having invented itself from a combination of the travail and the
exultation of African-Americans of a century ago. And art it remains, as it
grows, alters, develops, amalgamates from its beginnings as simple blues, or
ragtime or gospel.
The continuing synthesis of diverse elements first began in New Olreans at the
turn of the 20th century. The place had a rich culture and a heady texture,
with descendants from the Spanish, French, Acadian and African. At the time
there was much mingling of the races, and Creoles and Cajuns inherited a wealth
of ethnicity. More recent West African Blacks brought their distinctive
heritage and customs. "Traditional" or Dixieland jazz was a radical
departure from the kinds of music that went before. It was a direct reflection
of this multicultural city, lusty and energizing.
From there jazz has
developed into varied styles, including:
- the swing of big bands
- bebop
- the standards of mainstream
- free jazz with an avant-garde attitude
- fusion with electronics and other aspects or rock and
soul music fused with the latitudes of jazz expression
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This is "Pygmy," a wondrous sound hit upon in
Whatever variety, jazz has color and thythm and movement and excitement. Improvisation and solos are characteristic. Most of all, jazz delivers the unexpected and requires a certain risk-taking on the part of the player and the listener as well. As critic Whitney Balliett once said, "It is the sound of surprise."
Len Lyons wrote in 101 Best Jazz Albums, "Jazz cannot be defined adequately because it is not just a conceptual entity -- it needs to be experienced." Yes, jazz engages both the mind and emotions. Focusing together on the experience of the music, on the purely personal response it elicits.
Jazz music is as varied as the people who create it, and it can't be understood by reading about it. It must be tried out, in its many forms. If one sort of jazz sound does not please, please try another from a veritable banquet for sampling, tasting, savoring and coming back for more.
Now, since publication of the book in 1982, a more recent form has appeared, so-called cool jazz, originally introduced by the artists of Wyndham Hill and popularized by light jazz radio stations. To me it seems that this music just goes round and round and round and round. Oh, it can be soothing and even mindless background sounds. But it remains that true jazz of any style brings us the listeners up and down and into hard-breathing climaxes. And that does it for me!
Positively, Carolan
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