I couldn't agree more. What I'm speaking of is the "jazz" world and what
they might qualify as the problems with Acid Jazz, from their
perspective.
>As dynamics are concerned its a musical tool not a necessity.
It's a musical tool , that when ignored leads to dull montonous
hum-drum.
>As rehash is concerned Jazz is full of rehash. A lot of well known jazz talents do Jazz "covers"/"standards".
Ah yes, but the key term you're missing hear is interpretation.
Jamiroquai isn't reinterprting songs written by Stevie Wonder, they're
copying his style and then writing "so-called" original songs. The
orgin of standards were re-interprations of popular pop/show tunes of
the time. Not rehashings of dixieland classics.
On a side... I must say, the tradition of jazz musicians being expected
to know and retain a quadzillion standards is DULL and what has
stagnated jazz to move forward. I don't know if I could stand to hear
another version of "Stella By Starlight". This is why, i feel, Acid
jazz (as I described it from a "jazz" standpoint) is so important to the
progression of jazz.
> What Jazz musician does not have a a fake book, rehash.
Agreed...throw them out, or take those tunes and make them relevant to
today through re-interprtation.
> As acid jazz is concerned the phase to use is "It don't mean a thing if
> it ain't got that swing" or more specific "groove".
I'm with you %100
>Concerning group improvisation, dynamics and chordal diversity, so what. Acid Jazz is
> groove music. Music to get the foot tappin' and the booty shakin'. Its
> about the beat.
But it could all that and much more by applying these elements.
>Staying power. Rock has so far has staying power and it has broken all your jazz rules.
The term IS Acid JAZZ. Rock is simply Rock, why would I apply this
argument to rock. I was speaking of staying power in terms of jazz.
> I bet your musician!
Gee, you make that sound like a bad thing!
Later,
Chili
> Chili 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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