Tuesday, February 28, 2012

{Jazz Snob Conversations} The heart of the thing


For those of you who are a fan of my music, you'll be glad to know I visited with a booking agent last
night. Though a Monday, it was a sparkling night on the town. It's always a joy to mix business with
pleasure, and that we did! It was a night of jazz; jazz notes floating on the air, jazz conversations grounded in opinion, and jazz dreams shared between talents. 

And it got me thinking...how more in depth can I become with my jazz knowledge this week? While
I grew up listening to jazz, watching Ken Burns documentaries, and singing jazz I know that there
is always room to grow and learn. What great song writers are lesser known that I might be missing?
What experts of their instruments have I neglected?On that note... 

So often you hear the term "jazz snob," and it's always a curious one to me. For me, jazz has always been quietly intellectual, as the heart and soul of the thing is the most important. So what's to be snobbish about? Should jazz be treated like literature, analyzed to the point of excluding others? Or should it be treated as a gift, a universal conversation? Are we holding the snobbish qualities dear to our hearts for fear jazz will blend with the stupidity of other musical genres?

Though I function in both worlds, snobbish & universal, I somewhat fear the idea of snobbish jazz, because often jazz can become overwrought, over worked, over thought, over done. In what way is overly analytical better than genuine? Is precise thought better than improvisational thinking? Or are they one in the same? It's not meant to criticize the self proclaimed jazz snob, but rather to understand that way of thinking, because I often that that way too. Were the greats that came before us (and I don't mean the ones in the 50s and 60s, I mean WAY before us) more organic? More analytical? Or both?

It's time to pull out the vinyl, pu

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