Well I do know the Solesides/Quannum crew all met at UC Davis. Or
others like Pete Nice formerly of 3rd Bass had a Masters in English
from Columbia, he used it for other things. But, the above examples
they didn't obviously didn't end up working in an area that was a
result of their Major.
erik g
>
>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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