>
>
>> Hmm, what about all the guys who dropped out of Berklee once they got
>> a good gig, sorry no names come to my mind.
>
>Jan Hammer, Pat Metheny, Chick Corea--almost anyone famous you can think of
>that went to Berklee dropped out when they got a good gig!! That still
>doesn't stop the school from mentioning them--everybody wins...
Thanks for the help
> >But, don't you think
>> that having an artform studied in school, is a definite sign of its
>> maturity? It may not help the 'cause', but, it does show people are
>> listening.
>> erik g
>
>it cuts both ways. the study shows the "respectability" of the art, but the
>acceptance from the mainstream diminishes the perception of being
>"revolutionary."
>
>personally, i think that there is still much that can be done with jazz if
>people will look at the spirit of jazz as opposed to the *conventions.* a
>resistance toward bending or at least *examining* the "rules" is what leads
>to the death of an art form.
Just as Bop-, broke Cool-, broke Hot-Jazz, but, I think many of those
who would be incredible musicians have moved on to other things--like
why 'Classical' music seems so dead, but, Goreki, Corigliano, and
others do have something more to say.
> > as for Blue Note, they do have Charlie Hunter, and recently signed
>> MM&W who put out a 'straight-ahead' album "tonic", no mindless
>> meandering. And, the Europen arm is the one that releases Erik
>> Truffaz, those who are trying to look forward,
>
>don't forget saint-germain--a good direction for them, i think (hopefully
>this can redeem the bad ending of the Us3 experiment).
Us3 was good in concert they had some great musicans, the album
struck me as rather tepid.
> >but, you've got to
>> realize once jazz lost its audience to R&B and Soul, it became the
>> domain of the White Middle class, who now sustain, the Hip-hoper, or
>> at least their children do.
>
>i don't know about that last statement. as a record store employee &
>blackman, i can say that there are plenty of non-white people that buy jazz
>& hiphop. as far as the big names (in both genres), sure they wouldn't be
>as big without popularity w/white buyers, but in jazz (which is *less* about
>entertainment than hiphop) i don't think that there's the same type of
>pandering toward a particularly white audience--i.e., people that like
>jazz-flavored pop come in many colors. i guess i'm feeling that the people
>you're talking about matter more because of their class
>(middle/upper-middle) than their race--which i think is more varied than
>you're accounting for.
I was mostly regurgitating some article I wrote, and, how the
audience does change the music, using an aforementioned example,
'Classical' was the 'Pop' music of Europe, so once the audience
changed the music did with it--granted that is a bit of a
simplication. An amusing counter example is a white friend of mine
who got really irritated when his black girlfriend always changed the
radio station in his car to a light 'jazz' station from the PBS
_jazz_ station (WBEZ in Chicago) he always listened to.
erik g
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