I have been thinking about the question of longevity re: the respected
genre of choice.
Our culture ( I say "our" due to the fact that anyone with email is privy
to it) has developed in such a way as to, first, realize the marketibility
of a style/look/attitude, second devour this, sucking out of it the
original integrity that defined it, and then regurgitates it incessantly
to captive audiences (anyone one with eyes, ears, and an inhabitant of the
good ol' globe) until it reeks of banality.
hmmm....
Over the last few years, we have seen the huge rise of media recognition
hip-hop, Techno, and the Triphop/Jungle musics as well as "Acid Jazz".
What can maintain the longterm interest of these styles is a development
and maturity that can continue to develop past the marketing styles that
become pallatable and bland.
On that note.....
It is great to be able to listen to those albums that I purchased two or
three years ago and get the same fresh feeling from them again, like
listening to Sketches of Spain or an Eddie Palmieri groove .
So all said .....
(well maybe not all)
IMHO this genre continues to mature and I offer props to the musicians
growing it.
J
"There are a certain amount of illogical things going on."
On Fri, 11 Apr 1997, Steve "Chili" Grebanier wrote:
> Elson Trinidad wrote:
>
>
> Let's take a look at that all ilusive term Acid JAZZ. That second word
> IS JAZZ! For a established, recognized, and respected JAZZ magazine like
> Downbeat to take a serious, and respectful look at Acid Jazz, is
> completley a step in the right direction for the music. Especially if it
> is, "dying" or dead in the underground. It elevates it's status as a
> new, inspired and accepted form of jazz.
>
> And believe me, the last thing a write up in Downbeat is going to
> accomplish is place it in the mainstream. You'd need articles in SPIN
> and Rolling Stone for that to ever happen. All they're doing is giving
> overdue props from the jazz world.
>
> The damaging side of Acid jazz (from a jazz perspective) is it's lack
> of dynamics, it's lack of group improvisation and it's reliance on
> sequencers and drum machines. The other problem is the retro approach
> of bands like BNH and Jamaroqui. Both of these bands, while very
> talented, are simply rehashing grooves laid down in full force by Stevie
> Wonder and a zillion jazz/funk projects from the seventies.
>
> In "jazz land", a true imalgamation of hiphop beats (real drummer,
> please) and jazz sensibilities (harmonic approach, improvisation &
> interaction) is what will have staying power and modern relevance. This
> turns JAZZ into a music enjoyed not only by the people who wanna hear
> some dude blow, but also by the folks who wanna groove out. Kinda like
> the way jazz started out...party music!
>
>
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