But unlike his previous collections, "Weather Bird" clears the decks, and it's not always pretty. The subtitle tells the story. Reading between the lines of where Giddins locates jazz in its second century, it becomes clear why he no longer wants to cover the music, regularly, in real time. It's because here, in 2004, there's not much there there. Jazz has become a music of the past, and as opposed to fighting that trend, as he bravely attempted to do for 20 years or so, Giddins is now joining it. Only he's doing it his way, which is to write about history. With no gods looming to take jazz into the future, what else is there for a writer of Giddins' insight and ambition to do?
Review by David Rubien, San Francisco Chronicle
Mr. Giddins states a case that is true for Rock and Roll as well, even though I am not as worried about it's fate as I am for the fate of jazz. Yes, innnovation is to come by in any formbut that doesn't make a well executed reinterpretative piece entirely disposable or representetive of entropy or a steep decline.
ReplyDeleteIn this era almost all truly innovative artists find it hard to find an avenue to push anything through to a new level. This is for the very reason that Mr. Giddins described in the last two paragraphs of his article.
The situation is further complicated by the fact that most artists these days are as steeped in R&B, Pop and Hip Hop as they are in Jazz. While finding a way to meld these influences into a different voice for jazz while keeping the truth of the form alive is difficult, it's not impossible.
Not all the popular standards were true maaterworks, and not all the newer material from the pop world in the last 30 years are lesser. Then again, the true jazz artist would find ways to redefine each and elevate the piece as has been the case with jazz artists throughout the years.
In looking at these past masters, one must remember that in retrospect they are seen as genius but often a very dim view of their innovations, was taken.
There were similar prognostications of the decline of jazz in favor of the newer more frentic aesthetic of bebop by those who longed for the more familiar swing era jazz. There was also shouts of crass commercialism when Charlie Parker recorded with strings. Yet jazz prevailed.
Mr Giddins essays and critiques will be missed but let's just hope that his place will be taken by someone with a similar passion for jazz who will cover the many middle aged and young player out ther who ARE bringing a new aesthetic and are endeavoring to form a unique voice however subtly...
SouthBronxND
Somehow my previous post became garbled. In the first paragraph, I meant to say that Innovation in any form, is hard to come by.
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