Jazz Spoken Here (Incoherently)

Last night I dreamed I was playing in a transtemporal big band, on tenor sax. Next to me, Duke Ellington, on… trombone. (He said he took it up for the challenge, because he already knew everything he was ever gonna know about the piano. “… and the trombone’s humble.”) We were in Korea, playing a gig in Seoul sometime in the ‘oughts (we were time travelers, remember?), and I was asked to speak about my time in the country. I was honest, talking about the good and the bad, which didn’t seem to entertain the audience much; when I looked …

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How High The Ornithology, or, The Contrafact

Well, I was slowed down a little by a crazy ear infection, but I’m back. Here’s my take on two tunes, which are actually kinda-sorta one tune: “How High the Moon” (1940) by Nancy Hamilton (lyrics) & Norman Lewis (music) “Ornithology” (1945) by Charlie Parker & Benny Harris My take on this pair of tunes is flawed: I had to slow the backing track to make it playable with both tunes, my attempt at Bird’s famous Ornithology solo is haphazard, and the sound quality is something I’m not happy with… but I still feel like I have achieved something, compared …

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In Lieu…

… of an actual blog post, the last recorded musical homework of my Introduction to Jazz Improvisation course that I’ve been taking over at Coursera. Two tunes this week, because we have no analysis/written homework this time. The first was a blues in concert F: Yes, the horn section sucks. But I wanted the tune to have a little more oomph. I actually made the foolish assumption that the track was going at a steady tempo, but it wasn’t, so I couldn’t cut and paste the horn section stuff to another chorus as I’d intended. Ah well… (EDIT: I redid …

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WWSRD? (What Would Sonny Rollins Do?)

The title of this post is a question every tenor saxophonist asks himself or herself at some point, and I think it belongs on a T-shirt. I’d buy a few of them for myself, to be sure! Anyway, what led me to come up with this expression is that my homework this week in my Jazz Improvisation course at Coursera involved recording the head (the pre-existing melody) and one chorus of (imporvised) solo on Keith Jarrett’s tune, “Memories of Tomorrow.” I actually have a relationship with this tune going back to high school: my saxophone teacher at the time, Mike …

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Jazz/SF Intersection: Nichelle Nichols and Duke Ellington

It’s more often than you might expect that I find intersections between the worlds of jazz music and SF. John Coltrane read Flash Gordon and other pulps and comics as a kid, and as I discuss in that same post, Sun Ra (and several other jazz musicians) talked about life from the point of view of an alien from another world who was visiting the Earth. (Some others talked more in terms of being “trapped” on the Earth, and there, the sad root of the metaphor probably lies.) But in happier, more exciting news: my latest find, which maybe is …

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Delany on “Talented Writing”

Marc Laidlaw recently shared a link on Facebook to a post on “Good Writing vs. Talented Writing”over on Brainpickings featuring some ideas by Samuel Delany. Essentially, Delany draws a line between “good writing” and superior “talented writing”: The talented writer often uses specifics and avoids generalities — generalities that his or her specifics suggest. Because they are suggested, rather than stated, they may register with the reader far more forcefully than if they were articulated. Using specifics to imply generalities — whether they are general emotions we all know or ideas we have all vaguely sensed —is dramatic writing. A trickier proposition …

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Despite All the Nostalgia for the 1980s…

… that seems to be cropping up these days, it’s not a post-80s world we live in. It’s in the shadow of the Baby Boomer Generation that we dwell, today: their politics, their economics, their morality, their paradigm. This insight I ran across on the Ivebeenreading blog in a post about a piece elsewhere where Kent Jones “takes after Quentin Tarantino for a poorly thought-out slam of John Ford.” It’s curious that American culture and history are still so commonly viewed through a New Left prism, by means of which 1964 or thereabouts has become a Year Zero of political enlightenment; …

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What We Talk About When We Talk About Music: Part 5 — What I Listen to When I Listen to Popular Music

This entry is part 5 of 7 in the series What We Talk About When We Talk About Music

This post is part of a series. Since the posts build upon one another successively, I suggest you start with the first post in the series. In Part 3 of this series, I insisted that I actually do consume some of what everyone surely agrees is “popular music” by my definition of it–a hybrid form of performance art incorporating not just music but other performing arts, from theater and narrative storytelling and verse to fashion, makeup, dance, and more hyperreal narrative arts that are relatively new to the world, such as video and internet presence-management. But I also insisted that …

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What We Talk About When We Talk About Music: Part 4 — Music and Identity

This entry is part 4 of 7 in the series What We Talk About When We Talk About Music

This post is part of a series. Since the posts build upon one another successively, I suggest you start with the first post in the series. When my family moved from Nova Scotia to Saskatchewan, I had a pretty hard time of it. Understatement of my life, but it’ll do. The move began a long period of having the shit kicked out of me, and then struggling to find a way to fit into a youth culture I didn’t really understand. I was almost certainly dealing with PTSD from all the violence; I was definitely emotionally a mess; I was …

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What We Talk About When We Talk About Music: Part 3 — Hybridity

This entry is part 3 of 7 in the series What We Talk About When We Talk About Music

This post is part of a series. Since the posts build upon one another successively, I suggest you start with the first post in the series. Last time, in Part 2 of this series, I talked about “ear training” and the skills that are required by certain kinds of music if one is to listen to them competently–the requirement of a degree of work, a degree of slogging up a learning curve to grasp those kinds of music. The parallel for my overarching analogy of those mostly eat TV dinners and junk food on the one hand, and the self-described …

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