By Charles Lam
By Joel Beers
By LP Hastings
By Dave Barton
By LP Hastings
By Joel Beers
By LP Hastings
They sit there on a shelf collecting dust, these stacks of jazz CDs that record companies send me. Their mere presence annoys me at times, kind of like when I was in school and had a meaty homework assignment I was avoiding but knew I had to deal with. I know it's my job to listen to these damned CDs, but I rarely have the patience or stamina anymore. So I'm not happy about this, but I've finally decided to admit to myself and the world that by and large, I have come to disdain jazz.
The timing of this epiphany may seem curious. Because of Ken Burns' recent Jazz series on PBS, there's now more mainstream interest in the music than there has been in years. Translation: every yuppie shitbag in America suddenly finds it fashionable to proclaim himself a jazz fan and spend time he might otherwise have invested in stock trading and tasseled-loafer buying listening to music he doesn't really like or even understand.
Why? It has become a status symbol, a prop, a perceived statement of advanced intellect and sophistication. This, of course, is not the fault of jazz itself, but it explains the sour taste that blooms in my mouth each time some blow-dry boy cruises past me in a Lexus, sporting a self-satisfied grin as he plays a jazz CD just loud enough so he can believe people might ooh and aah to themselves, "That man has savoir-faire!"
Fact: jazz stinks. It is stagnant. Rock, country, blues and folk music have all continued to grow and "evolve"; the music sounds different now than it did 10 years ago, for better or worse (often worse, but, hey—at least there's been movement). Jazz, on the other hand, hasn't had a revolutionary figure in decades.
Today, you have five basic models of jazz to choose from:Straight-Ahead Jazz. Basically, warmed-over bop. While it's listenable enough, it's almost completely devoid of any new ideas or fresh approaches. Wynton Marsalis, Roy Hargrove, James Carter, Joshua Redman and the like are all fine musicians, but they lack the inspiration to move the music forward into uncharted territory. Plus, self-appointed/self-serving spokesman Marsalis is so smug and irritating that his mug ought to be mass-produced above the legend "Jazz Is Dead." Smooth Jazz. The modern equivalent of Lawrence Welk as personified by Kenny G, Dave Koz, et al., this is probably the most reprehensible, lightweight twaddle being produced on the planet. I have no doubt that in 10 years, the top names in smooth jazz will own theaters in Branson, Missouri. God, please strike them all down with an incurable disease I can't pronounce.
There are, of course, great living jazz musicians. Pianist Cyrus Chestnut is often panned as derivative, but I find his music a unique synthesis of Fats Waller-like stride, McCoy Tyner-like harmonic elegance, and the kind of gospel spirituality that would make Mahalia Jackson proud. Cassandra Wilson has one of the most soulful, moving and technically stunning voices of the recorded age—unfortunately, she elects to use arrangements and instrumentation so self-consciously eccentric that they subvert her musicianship. In his critically neglected work on the soundtrack for the film Backbeat, trumpeter Terrence Blanchard successfully linked modal jazz with the Bo Diddley pulse of rock & roll.
Blanchard's contribution is perhaps the most important because during its heyday, jazz served to free all pop music from its limitations and formalities. I remain convinced, for example, that Louis Armstrong is the single most important figure in American music history. With the phrasing of his singing and trumpet playing—plus his gleeful, charismatic persona—Armstrong showed the world in the 1920s how to loosen up, smile and elicit unbridled joy from playing and listening to music. In the '40s, Bird and Diz came along and added mind-boggling technical proficiency to the mix without losing any of the music's essential felicity. John Coltrane made perhaps the most powerful music of any of them in the early '60s, adding an Eastern influence—both musically and philosophically—that tuned American ears to the spiritual possibilities offered by consuming organized sound.