Many of them so called “new” a.k.a. “avant-garde” bands would urgently need an innocent (meaning non-corruptible) kid (critic), crying out loud in front of stage:
“But they aren’t wearing anything at all!”
Why is it, that most of today’s (jazz) critics are falling for their pseudo-intellectual blabber, instead of really listening to their mostly boring, though of course technically flawless music?
Anyway, what we need in jazz, is what the late Booker Little once upon a time has postulated for our music.
In 1961, Little described his harmonic concepts to Robert Levin in an interview for Metronome magazine:
“I can’t think in terms of wrong notes – in fact, I don’t hear any notes as being wrong.
It’s a matter of knowing how to integrate the notes and, if you must, how to resolve them.
Because if you insist that this note or that note is wrong, I think you’re thinking conventionally, technically, and forgetting about emotion.
And I don’t think that anyone would deny that more emotion can be reached or expressed outside of the conventional diatonic way of playing.
I’m interested in putting sounds against sounds and I’m interested in freedom also . . . which doesn’t limit the soloist.
In my own work I’m particularly interested in the possibilities of dissonance.”
And what I hear today, are either nostalgic reviews on “the good old days”, be it musically, or verbally (I’m partly guilty of that too!), or super-virtuos & highly eloquent, though idle talks by critics, audiences, and musicians.
No one seems to be interested in the expression of emotions, in clashing dissonances, or in jazz which would be reflecting the brutalities of our times.
No one seems to be interested in letting out what she/ he really feels (if she/ he feels something at all!).
Like these five all-time greats of our music:
Booker Little (tp) Eric Dolphy (as, bcl, fl) Mal Waldron (p) Richard Davis (b) Ed Blackwell (d) – “Five Spot Cafe”, NYC, July 16, 1961
Yessir, I can be a bad boy sometimes.
And so, after this unexpected rant by yours truly, feel free to enjoy Lady Ella Fitzgerald & Sir Mel Tormé, doing an inspired duet right before they awarded Chuck, err, Chick Corea in 1976: