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Post Django Gold, the trend continues


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All i know is these new-to-me Bobby Hutcherson albums are kick arse, I thoroughly enjoyed listening to Sun Ra's Supersonic Jazz this morning, the new Steve Lehman is awesome and i can't wait for Halvorson's Reverse Blue album to finally come out on Relative Pitch in the next couple of months. I couldn't care less what some random has to say, even less so for the ''jazz is all about freedom maaaaan" counter comments. Kill it all with fire.

Reading comments on the internet should come with an official health warning. It is the worst possible constitutional on a Saturday morning, or any morning, or night.

Please don't misconstrue this as outrage.

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You sure this isn't satire? :smirk:

I thought this was interesting:

"I studied jazz while an undergraduate at Wesleyan University and had the privilege of learning from, at varying distances, some of the genre’s great performers and teachers, including Anthony Braxton, Pheeroan akLaff andJay Hoggard."

That "at varying distances" tells me he was not Braxton's favorite student. That he could study at such a school and write such a piece suggests to me some personal axe being ground furiously.

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I am listening to his former "teacher" with his quartet from 1993 and it is among the most incredibly exciting performances I've ever heard from any era.

he even screeches a bit on his horns from time to time.

Fwiw, Hemingway's performance on drums is splendidly and thoroughly original and far removed from what any drummer played 30 years before.

As is the playing of the quartet.

I can think of dozens of performances by multiple bands/ensembles over the last few years that resembled little that existed ten or fifteen years ago.

One would have to actually listen to current jazz/improv to comment on the issue with any bit of gravitas.

This guys assertion that he was some sort of student is a false qualification if I've ever read one.

Composition 69m, baby

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This is like the girl who barely looked at you telling the world you're a lousy lay.

I mean, maybe you are, maybe you're not, but who the fuck is she to know?

Exactly. There used to be a few people and there still are, I suppose, who were convinced they didn't like any jazz music that wasn't classic jazz. A few of them actually listened to some of the various so-called avant-garde music of the past 40 or so years and a few others have actually gone to see some of these musicians play live - and alas, a few actually liked some of it.

You got ears, you gotta listen

Don Van Vliet

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I don't want to unduly extend this theme, or whatever it might be, but I think it has to do with some semi-silly, semi-ugly free-form desire to mock looking for and finding the permission it needs. That was the source, I'm pretty sure, of the original D. Gold "satire" -- select something that looks like a sacred cow (Rollins, I know, is a "someone," but here he's a stand in for a "something") and characterize it as a self-important s--- machine. The author of this Washington Post piece (and/or the editors who may have elicited it) simply goes Gold one better (or worse) by playing it straight (and stupid). I could take a guess about where some of this stems from -- is it an oblique latter-day offshoot of the whole solemn Marsalis-Crouch The Great God Jazz is Freedom Embodied theme, with an order of "Jazz is America's Classical Music" on the side? If so, I see this, oddly enough, not as an injury but an opportunity. Know-nothing arbiters of cheesy hipness say we're not hip? Fine -- let's give up on whatever remains of that miles-overripe stance toward the rest of society while we continue to pay whatever kind of good supportive attention to the music we admire that we are willing and able to. Above all -- and maybe this just me, but it feels right strategically -- I would advise lightening up on angry letters to the editor and so forth. To me this is a classic circling piranhas scene. Show them blood, and it's feeding time until boredom sets in or there's nothing left to eat. Remove one's limbs from the water, and it stops.

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Another telling phrase from that article:

I appreciated that these generous African American men deigned to share their art at a quite white New England liberal-arts school. But I just didn’t get their aesthetic.

Thanks for your attempt to explanation of this whole thing, Larry - makes a lot of sense what you say!

This guy definitely shares the narrowness of conception and thinking that the Crouch/Marsalis gang is so good at. Some of his points are so clueless, his premisses so far off the mark - it's pathetic. I'd be ashamed to publish something like that (but then I wouldn't and this dude wouldn't know, so really, there's no point in discussing this much furthre).

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bitter former student who failed, he didn't get it.

sheesh!

*dingdingdingdingding*

And we have a winner.

Here are the only two lines from that idiocy that are of any importance.

1. "What does this reset look like? I have no idea."

Right, so how about you simply shut the fuck up.

2. "My flirtation with jazz was inglorious and short."

Thank you and goodnight, Mr. Crouch.

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