Un bel post del critico David Hill sul suo blog Hot House parla delle nuove tendenze del jazz attuale:
Enter Christian Scott. His latest album, Yesterday You Said Tomorrow, was released last month, and Scott has made a media blitz which is rare for a jazz musician. Scott has appeared on late-night talk shows and NPR, sat in with Thom Yorke of Radiohead, and been featured in Vibe, New York Magazine, and the Village Voice, just to name a few. None of this matches Wynton's Time cover, but Scott could very well add a few more high profile notches to his belt before the year is up (it should be noted that Maralis had been leading his own groups for almost a decade before the Time cover). On top of that, Yesterday You Said Tomorrow could very well make everyone's year-end lists of the best albums of 2010. I will not predict that Scott will become the Marsalis; such predictions rarely end up being true. But whether or not he gets noticed by the rest of America, he could very well play an important role in the ongoing evolution of jazz.
The question "What is jazz?" is beyond cliche, but Christian Scott is fast becoming the embodiment of an answer to this question (though not necessarily the answer), whether he likes it or not. Though I suspect he may like it. Having read and watched a number of different interviews of his lately, it is plainly evident to me that Scott is not afraid to share his feelings on jazz. Case in point, in his recent All About Jazz interview, Scott recounts his own disagreements with Marsalis, and criticizes his narrow conception of jazz, "He got to this place where he's at the top of the pile, and then he decided he was going to tell everyone else in the country what to listen to and how to play jazz." Scott goes on to dismiss the idea of recording a standards album, as well. None of this is, of course, anything new for a jazz musician to say. However, Scott and a number of his contemporaries, to me, embody a conception of jazz that moves beyond the Jazz Wars of the 1990s (Marsalis complaints notwithstanding).
Musicians like Christian Scott, Vijay Iyer, Robert Glasper, and Jason Moran (just to name a few) seem to experience jazz as an oral tradition, one that is adaptable to various external forces and one which can incorporate new strands without losing its identity as jazz.1 You can find ample evidence of this relationship with jazz in the music of these artists. For one, they seem to fill out their repertoire with both nonjazz tunes (from genres as diverse as classical, rap, alternative rock, and gospel) and standards written by some of jazz's universally-recognized masters, like Miles Davis, Thelonious Monk, or Andrew Hill. They are reverent of the past, but they value individual expression over belonging to a certain school (as Davis, Monk, and Hill did)....
Il post integrale è a questo indirizzo.
Enter Christian Scott. His latest album, Yesterday You Said Tomorrow, was released last month, and Scott has made a media blitz which is rare for a jazz musician. Scott has appeared on late-night talk shows and NPR, sat in with Thom Yorke of Radiohead, and been featured in Vibe, New York Magazine, and the Village Voice, just to name a few. None of this matches Wynton's Time cover, but Scott could very well add a few more high profile notches to his belt before the year is up (it should be noted that Maralis had been leading his own groups for almost a decade before the Time cover). On top of that, Yesterday You Said Tomorrow could very well make everyone's year-end lists of the best albums of 2010. I will not predict that Scott will become the Marsalis; such predictions rarely end up being true. But whether or not he gets noticed by the rest of America, he could very well play an important role in the ongoing evolution of jazz.
The question "What is jazz?" is beyond cliche, but Christian Scott is fast becoming the embodiment of an answer to this question (though not necessarily the answer), whether he likes it or not. Though I suspect he may like it. Having read and watched a number of different interviews of his lately, it is plainly evident to me that Scott is not afraid to share his feelings on jazz. Case in point, in his recent All About Jazz interview, Scott recounts his own disagreements with Marsalis, and criticizes his narrow conception of jazz, "He got to this place where he's at the top of the pile, and then he decided he was going to tell everyone else in the country what to listen to and how to play jazz." Scott goes on to dismiss the idea of recording a standards album, as well. None of this is, of course, anything new for a jazz musician to say. However, Scott and a number of his contemporaries, to me, embody a conception of jazz that moves beyond the Jazz Wars of the 1990s (Marsalis complaints notwithstanding).
Musicians like Christian Scott, Vijay Iyer, Robert Glasper, and Jason Moran (just to name a few) seem to experience jazz as an oral tradition, one that is adaptable to various external forces and one which can incorporate new strands without losing its identity as jazz.1 You can find ample evidence of this relationship with jazz in the music of these artists. For one, they seem to fill out their repertoire with both nonjazz tunes (from genres as diverse as classical, rap, alternative rock, and gospel) and standards written by some of jazz's universally-recognized masters, like Miles Davis, Thelonious Monk, or Andrew Hill. They are reverent of the past, but they value individual expression over belonging to a certain school (as Davis, Monk, and Hill did)....
Il post integrale è a questo indirizzo.
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