DownBeat October 1993 [antikvár]

ON THE BEATDO\V\BEAT October 1993Corn Visionby Frank Alkyer had a vision tlie other day. The young lions of jazz appeared before me in a burst of white light. But instead of designer suits and piercing, serious expressions, they donned space-aged, gold lamé robes that wouldVe made Miles smile and Sun Ra return to earth.Instead of taking a solo, then stepping stage-left to bow their heads in reverence to Almighty Jazz, the lions actually bopped, wove, shouted, and stirred both their band-mates and the audience into a frenzied good time.Instead of introducing tunes like they were museum pieces"We'll now do a composition from 1911 by the legendary classical jazz composer. Jelly Roll Morton . . they actually breathed fire into that number before the first note was blown: "We've got a slammin' piece of the Jelly Roll for you, and there's plenty of room fordancin' up here."What caused such a vision? It's pretty clear. There's an element of jazz that's slowly being dissected from this music. And, to me,Louis Armslrong from the 1938 movie Going Placesit's the equivalent of stealing its heart. That element is jazz as fun, as spectacle, as entertainment. And it's not only being lost in conservative and mainstream jazz, but in avant garde circles as well.Perhaps, it's the times. Like pro athletes more interested in contracts and endorsement deals than the game, it seems that some musicians are more concerned with hiring image consultants than playing music, or playing music without consideration for the audience.Maybe, it's history. Jazz has fought hard to earn respect. In recent years, this magazine has reported on tremendous strides that have been made with the nation's finestconcert halls and funding institutions. Hut being associated with the classical art forms has made jazz a very "serious" business. All too serious, perhaps, and at the expense of developing historical tunnel vision. Where's the showmanship of Pops Armstrong? The fiery craziness of Dizzy Gillespie? The performer-as-anti-performer style of Miles Davis?Back when big bands were plentiful and roamed the earth, one of the most popular categories in DB's annual Readers Poll was who would win the title "King of Com." It sounds dated now, but those who annually duked it out for the title understood the value of showing audiences a good time.Yes, jazz still has its share of great entertainers. But, unless they're old lions or tight-rope walkers, many are criticized for that very trait. It's a shame that the likes of Harry Connick, Jr., Arturo Sandoval, Lester Bowie, and many others get sniped at by some critics when they should be thanked for maintaining one of jazz's finest traditions.So, how did my vision end? Oh, it was beautiful. The young lions sweated throu^ a series of classics"Salt Peanuts," "Giant Steps," "Take The A' Train." But they also jumped in with original tunes that stood proudly with Dizzy, Trane. and Duke. And as the vision's white light faded like a sunset, an endless conga line formed heading toward midtown Manhattan to reclaim W. 52nd Street as jazz's ownand then to recapture the imagination of the entire music world.DBOctober 1 99 3 -Volunie 60-No. 10PUBLISHER Kevin Maher EDITORIAL DIRECTOR ASSOC.PUBLISHER Frank Alkyer MANAGING EDITOR Joho Ephland ASSOCIATE EDITOR DavB Helland ASSOCIATE EDITOR Ed Enright DESIGN Jay Crawford Design PRODUCTION MGR. Isabel Zack CIRCULATION MGR. Elaine Rizleris CIRCULATION ASST. Ginger GlesePRESIDENT Jack Maher CONTRIBUTORS: L

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Cím: DownBeat October 1993 [antikvár]

Szerző: Bill Milkowski Eliot Tiegel

Kiadó: Maher Publications

Kötés: Tűzött kötés

Méret: 210 mm x 280 mm

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