In a message dated 2/20/01 2:02:25 AM Eastern Standard Time,
owner-aj@hci.uu.se writes:
> Can anyone give me a broad definition of what Acid Jazz is?
I am new to the list, and perhaps this question has been discussed to death
-- but I just wanted to put my two cents in on the subject. I don't really
know anyone else who is into the music I'm into -- so I never get to discuss
it. I shall now. ;-)
Personally, I see "acid jazz" as an eclectic musical conglomeration
incorporating a wide assortment of genres spanning over 100 years.
I didn't like the term "acid jazz" for quite a long time -- it sounds too
harsh, heavy and negative to identify music so positive, free, and funky. I
finally embraced it as a "label" of sorts a little over a year ago -- because
there were just too many labels and terms floating around to describe the
music I have been listening to for 30 years.
I even lump a lot of "rock" and funk into the acid jazz category. When the
music isn't really rock, as rock is typically played, and it also isn't your
standard pop -- but it also isn't really jazz, soul or R & B. . .what is it?
Heck if I know. . .let's call it acid jazz.
I finally decided to start using the term "acid jazz" because I found the
current music I liked rather hard to find. I discovered groups like the
Brand New Heavies, Brooklyn Funk Essentials, Groove Collective, Incognito,
and other assorted break beat and groove records filed under rock, hip hop,
club, jazz, import, Latin, soul, funk, alternative, r& b, punk, sca,
international, world music, trip hop, electronica, cine-fi, ambient, dance,
and even classical in numerous CD stores. I thought it would be much easier
if there was a title which could incorporate them all. Most so-called acid
jazz artists don't get much radio play either (except on college stations),
because no one can figure out which format they should be in. This is why I
finally started using the term "acid jazz" -- it's just an easy way to
describe a hodge podge of interesting grooves which cross over contemporary
musical boundaries.
At one time, R&B would have served to categorize much of what is now acid
jazz . . . but R&B has changed its style so much over the years that it seems
to have lost its roots. A lot of acid jazz also adds new soundscapes and
electronic textures that were not in original R & B music. Anyway, that
which once was R&B (as well as soul, funk, and even disco. . .at it's best)
is now considered acid jazz.
Contemporary genres of most "popular" music have a shelf life of five years
or so. Even rock itself only goes back about 45 years. . .but jazz has an
entire century to reflect on -- currently taking the best of what developed
in all the other genres over the years. . .and leaving the chaff behind.
There are a few musical “touchstones” of the 20th century which are an
influential factors in all the music that followed – Jelly Roll Morton,
George Gershwin, WC Handy, Louis Armstrong, Sidney Bichet, Duke Ellington,
Charlie Parker, Miles Davis, Coltrane, Monk, Django Rheinhart, Wes
Montgomery, Quincy Jones, James Brown, George Clinton, George Duke, Sly
Stone, Donnie Hathaway, Stevie Wonder, Return to Forever (Chick Corea,
Stanley Clarke, Lenny White, Al Dimeola), The Brothers Johnson, The Brecker
Brothers, Earth, Wind and Fire, and even Prince. I must also include a great
deal of Latin music in this mix -- particularly salsa, bossa nova, and afro
cuban. . .although I must admit ignorance in who the founding father's were.
Also, with the introduction of the Internet, cultural boundaries are melding
together with folk music from around the World.
Put all these influences together, make it groove, and you've got this “new”
genre of acid jazz.
I like the fact that "acid jazz" is somewhat of an oxymoron -- just like the
music itself. It makes people stop and say, "what the heck is that?" So,
what exactly is acid jazz? Well, there are two areas of primary importance
-- syncopation and counterpoint. I feel that acid jazz takes these two
aspects to a higher level. The syncopation is layered through the use of
various instruments -- percussive and otherwise -- and the counterpoint is
created through the layering of melodic grooves. Melody -- in and of itself
-- has never been of primary importance when it comes to jazz. . .it's the
way each instrument plays solo variations through it, and around it -- and
how they react off of each other in the process. It's an expressive montage
of dialogue rather than a single narrative.
A melody is like a story; expositions are rather dull, but things get more
interesting when dialogue develops. The dialogue intensifies with the
addition of each individual response. I'd much rather hear a saxophone,
trumpet, trombone, and piano discuss a melody than hear Celine Dion sing it
as a solo narration. The one common element I've found in acid jazz
(besides innovative syncopation and counterpoint) is the focus on a musical
soundscape. Tones seem to be just as important as melody lines, and the
texture of the tones are sometimes more important than the note itself. At
times the notes are more percussive than melodic, or the melody itself is
comprised of percussive tone textures. The layering of tones and textures,
juxtaposed against rhythm and melodies, create some very interesting grooves.
So anyway. . .jazz is a mix of music which spans the 20th century. It arose
from the soil and essence of that which America set out to be. It is the
only artistic form that is truly American -- formed in the belly of the
melting pot, remembering forgotten dreams, celebrating hope, expressing the
human condition. . .and rising above it. It is music formed in the heart,
mind and soul of the people. This is jazz. What makes it acid? When you
throw everything else American and World culture has musically expressed over
the last 30 years into the mix. . .and make it groove.
Anyway, that is my little dissertation on acid jazz. Forgive me for being
self indulgent, but music is my hobby and passion. I'm moving more into
promoting and marketing music, so it's also becoming my work.
Peace,
J. Scott Fugate
JSFact@aol.com
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