On 2 Apr 2008, at 11:25 PM, John Howell wrote:
At 6:15 PM -0400 4/2/08, Darcy James Argue wrote:
On 2 Apr 2008, at 5:45 PM, John Howell wrote:
But replays of the original are just nostalgia. Covers or new
approaches are what establish longevity, for me.
This isn't how the popular music world works. The original
recording *is* the work. The vast majority of covers (well over 90
percent!) are vastly inferior. A work that is rarely covered has
nothing to do with the quality of the original. Some songs lend
themselves to multiple reinterpretations, and some don't.
I'm answering as an arranger, Darcy. I realize that to most people--
certainly ordinary people but unfortunately some pretty good
musicians, too, and including my own kids when they were teenagers--
the original recording IS the work. But to an experienced arranger,
the original recording is only one possible version and one possible
arrangement of the work. Anyone who can't think outside that
particular box isn't prepared to be an effective arranger, or at
least not a creative one.
Since the people who hire me like to think I'm also an effective and
creative arranger in my own right, let me say that I really don't see
any conflict between the view that in popular music, the original
recording (not what you could represent on a lead sheet) *is *the
work, and the idea that such works can be reinterpreted and
repurposed. As you are perhaps aware, mash-ups and remixes are
extremely popular amongst "the kids today" -- in fact, Radiohead just
released the individual vocal, guitar, bass, drums, and strings+FX
tracks from the single "Naked," and are encouraging their fans to make
their own remixes of the song, some of which differ quite radically
from the original. They are even posting the remixes on their website,
and allowing fans to vote for their favorites:
http://www.radioheadremix.com/
All I am saying is that a works suitability for reinterpretation
(whether its arranging, covering, remixing, making mashups, or
something else entirely) bears absolutely no relation to its quality.
Few people have tried to cover Coltrane's _A Love Supreme_, and those
that have tried have all failed very badly, in my estimation. That
doesn't mean the original is a poor work, or endures only for
nostalgic reasons.
And John, I'm sorry, but the idea that "replays of the original are
just nostalgia" is absurd. I listen to an awful lot of music that
was written and recorded before I was born. How is that nostalgia?
That's more along the lines of what I would call "musical literacy."
Well, as much as I honestly respect your thinking on most things, I
guess we'll just have to disagree on this. Of COURSE anyone can get
a lot of enjoyment out of "Golden Oldies," but they're still
"Oldies" no matter how "Golden" they may be.
I'm still not understanding your argument, which is: "replays of the
original are just nostalgia." Especially when we are talking about a
work that someone is discovering for the first time. "Just nostalgia"
suggests that one's appreciation for the work has little or nothing to
do with its value as a work, and depends largely on being reminded of
something you formed a a sentimental attachment to when you were young
and impressionable. So I really have no idea how my love of artists
that I discovered as an adult, and whose work was made years, decades,
or centuries before I was born, in any way constitutes "nostalgia." By
your definition, the entire classical music establishment is based on
nothing more than nostalgia.
(I'm actually not sure I entirely disagree with that view, but I also
don't think that's the argument you intended to make.)
And John, I'm more than familiar with your bio and have deep respect
for your experience. You, of all people, do not need to prove your
bona fides to me. I just think -- and hope you will agree -- that your
understanding of popular music reflects a time, a scene, and a mindset
that are all radically different from what I've experienced in my own
lifetime. (I was born in 1975.)
Cheers,
- Darcy
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[EMAIL PROTECTED]
Brooklyn, NY
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