Allan I can see you are an enthusiast for jazz. As a gesture of good faith I listened to one of you links. I'm sorry. It's music without soul for me. Real music speaks to me. This is mute.
DA ----- Original Message ----- From: Allan Sutherland <[EMAIL PROTECTED]> To: "[email protected]" <[email protected]> Subject: Re: Music and all that jazz -correction Date: Tue, 15 Apr 2008 09:56:44 +0900 > On 14/4/08 21:55, "[EMAIL PROTECTED]" > <[EMAIL PROTECTED]> wrote: > > > Re: "and that the discussion is proving fruitless." > > > > What would be fruitful? If I agreed with you? > > No, such is a surely banal response. > > > In matters > > such as this there is no question of convincing the > > other person. Only the music can do the persuasion. Jazz > > has persuaded me - not to like it. > > No, jazz is as much as the term classical music is; it > encompasses a wealth of musical practices and engagements > among musicians and audience. Some are unimaginative > others are not. I would not dismiss all classical music on > the basis of lack of interest on my part for any > particular range of its manifestations. Viewed from a > distance a landscape merge into its primary forms, shapes > and colours, the closer one moves towards that landscape > the more subtle variations and textures begin to become > striking. Viewing jazz or baroque music from a distance of > disinterest is hardly an appropriate method to evaluate > either. > > I doubt if you have heard the performances of the > magnificent pianist John Law, or have you? Are you aware > of the compositional approaches of someone like Barry Guy, > or the work of the Instant Composers Pool, or work like > Bobby Previte's The 23 Constellations of Juan Miro, or the > likes of French bassist Joelle Leandre. Or the work of > Louis Sclavis, e.g., Napoli's Walls, or of the Swedish > pianist Bobo Stenson. Are you aware of the rich variety of > musics and sound textures they produce and the methods > whereby they do so? Or how about the music of Ab Baars and > Ig Henneman, particularly their Floating Worlds Ensemble, > are you aware of such? If yes and you are dismissing this > music on the basis of knowledge, then your views are > stronger than if you are dismissing them without knowing > simply because you have placed them into your box of > object for contempt with the word Jazz emblazoned on the > outside, not as imaged by Matisse. If you are dismissing > it simply on the basis of putting into the box for > contempt because the word jazz is associated with it, then > this discussion is going nowhere... > > A few links: > > http://www.bobbyprevite.com/miro.html > > Joelle Leandre: > http://www.efi.group.shef.ac.uk/mleandre.html > > Peter Kowald: > http://www.efi.group.shef.ac.uk/mkowald.html > > Irene Schweitzer and Carl Rudiger: > http://www.efi.group.shef.ac.uk/video/vschwei1.mov > > Ab Baars: > http://www.youtube.com/watch?v=GbmT2HfNz0w > > Louis Sclavis: > http://www.youtube.com/results?search_query=Louis+Sclavis&search_type= > > ICP- Monk's Mood: > ttp://www.youtube.com/watch?v=x6Bx3hwfmzw > > Enough is enough of the discussion, for the music the > above is only a few fragments loosed from an iceberg. > > Toodle-pip, > > Allan.
