Excerpts from jazztruth:
Again, I think Payton is on the money here; Again, I think Payton is on the money here; it's just theit's just the labeling that's at issue, not the music. I suppose some labeling that's at issue, not the music. I suppose some white f
white folks, maybe some black olks, maybe some black folks, have troublefolks, have trouble
calling their music Black American Music. I don't have a calling their music Black American Music. I don't have a problem with that. I do think that it might actually
problem with that. I do think that it might actually mak
make things more confusing, since te things more confusing, since the vast majority of he vast majority of people in the world don't have a clear idea of what jazz people in the world don't have a clear idea of what jazz
is anyway
is anyway, and if we were , and if we were to all of a sudden replaceto all of a sudden replace
"jazz" with "Black American Music", then someone
"jazz" with "Black American Music", then someone watching an all white jazz band in the middle
watching an all white jazz band in the middle of Ohio,of Ohio, or even the middle of Denmark, might be scratching or even the middle of Denmark, might be scratching their heads.
their heads.
ObviouslyObviously, there's always , there's always someone who gets sensitivsomeone who gets sensitivee when RACE ente
when RACE enters the conversation. I rs the conversation. I also wonder also wonder
whether Payton is suggesting the acronym BAM(as in whether Payton is suggesting the acronym BAM(as in ,,
"I play BAM music"?) as an alternative. I th
"I play BAM music"?) as an alternative. I think that's asink that's as good as calling music
good as calling music "jazz" or "bebop" "jazz" or "bebop" or whateveror whatever..
W
Words can't really ords can't really describe music describe music accurately anywayaccurately anyway..
Again, I have no problem as a musician, and especially Again, I have no problem as a musician, and especially
as a teacher of history(I am not a jazz h
as a teacher of history(I am not a jazz historian, by theistorian, by the way), recognizing that the
way), recognizing that the African-AmerAfrican-American ican experienceexperience was crucial to the development of jazz. As long a
was crucial to the development of jazz. As long as I, as I, a white person(see my website for photos), am still
white person(see my website for photos), am still allowed to play
allowed to play, I don't care , I don't care what it's called. (I think what it's called. (I think though, just to have
though, just to have perspective, if perspective, if TToby Keith started oby Keith started calling his music "White American Music", t
calling his music "White American Music", then wehen we might have a little problem...)
might have a little problem...)
More from Nick
More from Nick
Dont get me wrong, there are some brilliant, geniusDont get me wrong, there are some brilliant, genius White cats that have played this music,
White cats that have played this music, but itbut itss ultimately a Black art form. What
ultimately a Black art form. Whats wrong withs wrong with
renaming the music in a way that puts that argument renaming the music in a way that puts that argument to bed once and for all? Do you
to bed once and for all? Do you think Ithink Im the only m the only person that ever wanted to do this? Hell no. Miles, person that ever wanted to do this? Hell no. Miles,
Max, Mingus, J-Mac,
Max, Mingus, J-Mac, DrDr. Donaldson . Donaldson Byrd and so many Byrd and so many others have wanted to do this for a while. They gave others have wanted to do this for a while. They gave upup because they got tired of the backlash from Blacks and because they got tired of the backlash from Blacks and Whites alik
Whites alike that it e that it caused. Wcaused. Well you ell you know what? Asknow what? As Roy Haynes says, The time for hesitation is over.
Roy Haynes says, The time for hesitation is over.
Is Jazz Dead?(or
Is Jazz Dead?(or Has It MoHas It Moved Tved To A New Addro A New Address)ess) by Stuart Nicholson
by Stuart Nicholson
(American musicians now) are (American musicians now) are considered cleverconsidered clever. The . The questionquestion is, do they really concern us? Do we need
is, do they really concern us? Do we need somebody to tell thesomebody to tell the same story over and over again? Are these
same story over and over again? Are these musicians meremusicians mere custodians in a historical museum of music?
custodians in a historical museum of music?
The The USA has slithered USA has slithered into musical provincialityinto musical provinciality. It produces. It produces great instrumentalists but no
great instrumentalists but no new approaches.new approaches.
One obvious result of this openness is that some One obvious result of this openness is that some EuropeanEuropean academies believe that their jazz students should also pur academies believe that their jazz students should also pursuesue parallel studies in Classical music as an aid to skills
parallel studies in Classical music as an aid to skills buildingbuilding