Thanks for your very thoughtful review of my CD.
I yearn to be challenged, shocked, like a musical
version of Fear Factor, where healthy young girls fall out of helicopters,
only with a Coda. But I suspect that my reaction reflects more on me
than on the music. After several decades of listening to and playing
Jazz has my nervous system become so deeply grooved that only the most
outrageous sounds can ring through as truly original?
I understand your ideas. I think we are all functioning as a result
of our own perspectives. For example, in reference to the way you characterized
your tastes having changed over time, it is worth noting that that is a result
Last year, when I interviewed Pat Metheny he
mentioned something interesting and apropos to what you wrote. He said
that the overwhelming majority and percentage of people who will ever be
to and or enjoy the
music we are creating, have not been born yet. That's kind of amazing
when you think of it. And, when you think about it, the same statements
would have held true during the time Bach, Beethoven, Mozart or any
other artists were creating music.
I took the long way around. . . but, what seems
old, or not new or revolutionary to you and me, and people around us,
is going to be brand new and fresh to someone standing next to us.
In the case of jazz, in general, or Charlie
Parker, for example in particular, the majority of people in the United
States have consciously heard little of the former that they could
identify or know is jazz....and may have no knowledge of Parker at
all. Yet, you and I understand his
music to be of significant influence––especially at the time it was
When I first heard jazz (and my earliest exposure
was to Miles Davis, Oscar Peterson, Buddy Rich. . .) I did not have
any idea what it was. But
I was suddenly magnetized toward and energized by this music. There
are people who have yet to be exposed to this music (as Pat Metheny
of those are children and adults around us today. To them, what you
and I perceive as old hat, traditional, and so on, is going to be revolutionary
and brand new to them. . . perhaps driving the new listeners' curiosity
to explore further.
Anyway, I think to be free and exploratory,
one benefits by having a mastery of the existing vocabulary and technique.
Then taking chances and being
free also takes on some meaning. Perhaps that meaning might be lasting,
by virtue of the depth that someone with such understanding (developed
through practice and experience) might have. Equipped with these advantages
of depth and diversity of understanding, and a background, we then
have the option to choose to play inside or outside. We have the option
to choose whether
or not to provide one kind of approach or performance to another––such
as the comparison between something traditional versus something more "Fear
Factor" oriented. I think that is important --the ability to choose.
But, as you know being limited to doing just the adventurous, free
Factor" is sometimes a function of limited ability.
The music on "Blessing In Disguise" of
course, as you aware, was a conscious choice. There is a lot of other music
I want to continue to explore
and write-- including making recordings with more of a free perspective.
I appreciate your understanding of my music and talent.