didnt some popular emcees go to school in california....i dont know if
berklee.
kids from hieroglyphics?
On Thu, 11 May 2000, Erik Gaderlund wrote:
> >
> >
> >> 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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