Well, they don't overdo it on free jazz, which is split with fusion, but we
do experience the critical stop around 1977 or so. This is a little more
charitable to the overall history than Burns, though
shows his influence and perhaps is meant to connect with it. However it
does leave out progressive, jump and, as you (Tom) point out, smooth.
Please don't be too hard on free. There are some of us that are among the
minority who bought those albums and like them, and even play in free jazz
contexts every once in awhile. Admittedly,
it is musician's music, not so much for the general public yet valid in its
own way and still expanding in terms of style. Free will never fit into the
Lincoln Center fossilization of jazz, though I do note
that John Zorn will be celebrating his 60th birthday there this year.
On Sat, Apr 6, 2013 at 6:22 PM, Tom Fine <[log in to unmask]>wrote:
> Related to this original thread, here is the National Endowment for the
> Arts (ie the taxpayers' dime) curriculum for jazz in the schools:
> This would be The Canon as far as public education is concerned.
> Look at Lessons 3-5. Where is ANYTHING about soul-jazz or acid-jazz? There
> sure is a lot about free-jazz, yet no mention of how few copies most of
> those recordings sold because they were unfriendly and inaccessible to the
> casual listener. There's a brief mention of Latin-jazz (which was HUGE as
> far as cultural impact and record sales), mentioning only Stan Getz.
> There's not much of anything about fusion (probably a safe bet that Weather
> Report, Mahavishnu Orchestra and Herbie Hancock sold thousands or millions
> more records than all the free-jazz albums combined) and nothing about the
> success of smooth-jazz.
> So the taxpayers' dime seems to have been spent to adopt the Ken Burns
> view of jazz. Great stuff!
> -- Tom Fine
> ----- Original Message ----- From: "Cary Ginell" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Saturday, April 06, 2013 12:01 PM
> Subject: Re: [ARSCLIST] revisiting an old thread -- jazz anthologies
> Check out Randy's performance on "Some of These Days."
> Cary Ginell
> On Apr 5, 2013, at 6:54 AM, Carl Pultz <[log in to unmask]> wrote:
> Thanks Cary - I have not heard him. BTW, I haven't kept up with Wynton's
>> work, but the band he had on NPR for last New Year's Eve was smokin'! And
>> was mostly about exploring trad space. I loved it. It would be worth the
>> time to read the Burns interview text. Wynton might have gone out on a
>> but the form and nature of a broadcast documentary just can't be relied on
>> to reflect the nuance of complex meanings. I take that as an absolute
>> But, I think television is a tragedy even when it isn't being a travesty.
>> -----Original Message-----
>> From: Association for Recorded Sound Discussion List
>> [mailto:[log in to unmask]**GOV <[log in to unmask]>] On
>> Behalf Of Cary Ginell
>> Sent: Friday, April 05, 2013 9:25 AM
>> To: [log in to unmask]
>> Subject: Re: [ARSCLIST] revisiting an old thread -- jazz anthologies
>> Randy Sandke, incidentally, is a wonderful trumpet/cornet player who is a
>> huge Bix fan. I believe he's sat in with Vince Giordano on more than one
>> On Apr 5, 2013, at 6:16 AM, "Carl Pultz" <[log in to unmask]> wrote:
>> Fascinating discussion - thank you, all.
>>> I recommend a book I recently read: "Where the Dark and the Light
>>> Meet: Race and the Mythology, Politics, and Business of Jazz" by
>>> Randall Sandke. As with any study of such a complex subject, it should
>>> not represent a definitive or final judgment on the history of the
>>> music. It does reflect the experience of musicians I've known, for
>>> whom the late 60s and early 70s were a heart-breaking time of
>>> exclusion and distrust. It gets at some very uncomfortable things.
>>> The research also makes the Burns series dominant model of two racial
>>> tracks, parallel but isolated, appear that much more absurd. But, it
>>> is PBS and it is KEN BURNS, both brands that have a lot invested in
>>> mainstream consensus and pretty pictures and golden memories,
>>> calculated to liberate the check-books of "viewers like you."