The Persistent "Dreariness of Music Aesthetics"

A few years ago I attempted to argue with The Ohio State University philosopher and jazz guitarist  Robert Kraut about jazz and its relationship to the philosophy of art, specifically the aesthetics of music. Our 'discussion' could never get underway. Professor Kraut accused me of employing as data music criticism - the likes of Charles Rosen, Andre Hodier, Gunther Schuller, Amiri Baraka (hereinafter "the usual suspects"). My reply would have been, "So What?". Kraut's data resides in the musings of philosophers of art, with a taste of Carnap and Hempel tossed in for academic street-credibility. See his essay "Why Does Jazz Matter to Aesthetic Theory?" that appears in his volume Artworld Metaphysics, Oxford University Press. My reply to Kraut was "Show me an aesthetic theory (any aesthetic theory), then we can access it and argue about jazz's importance with respect to a particular theory.

Rereading "Why does Jazz Matter to Aesthetic Theory?" and other writings of philosophers on the aesthetics of music, I've returned to a notion I had started with: the persistence of a "Dreariness of the Aesthetics of Music" is based in a professed ignorance, in fact joyful ignorance, of the writings of the usual suspects and the satisfaction in relying on the writings of other philosophers.

To turn Kraut's 'argument' back on itself let's consider the following: the scientism of Kraut's article, its posturing in terms of 'theory construction' and 'theory-data', of which jazz performances are 'data' for some 'theory' to be articulated some day; let's be charitable, some possible theory. "Play the drums and stop tip toeing around the tune (theory)." No one wants to play the drums. Everyone wants to tip toe.

If our philosophers of art (of music aesthetics) would only start "playing the drums", they would deal straight-up with the data provided by the usual suspects - writers who know what they are talking about, musicians who write about what they know.

Philosophers of mathematics and philosophers of science may be ignorant of many aspects of their subjects, but they would not be so quick to discount the writings of Cantor, Frege, and Gödel or of Einstein, Newton, and Heisenberg; as Professor Kraut is to dismiss Andre Hodier's (and other's) writings. When I read philosophers writings on music, their meta-theoretical musings; I can't wait to get back to the usual suspects who know what they're talking about.

The Jazz Loft Project & Other Connections

Two years ago a friend gave me The Jazz Loft Project by Sam Stephenson as a gift. This exciting book's subtitle is Photographs and Tapes of W. Eugene Smith From 821 Sixth Avenue 1957 - 1965. A CD of some of the sessions recorded by Smith is also available for purchase. W. Eugene Smith was a well known photographer who recorded 1,740 reels of tape documenting the music performed in his loft by musicians such as Thelonious Monk, Hal Overton, Pepper Adams, Lee Morgan, Yusef Lateef, and Zoot Sims. Smith's loft was Sims' regular hang. There's a marvelous photograph (page 115) of Ronnie Free, Mose Allison, Lester Young (Prez), Mary Lou Williams, Charlie Rouse, and Oscar Pettiford. Ronnie Free was the loft's house drummer. He is also shown in a photograph with Lennie Tristano, Warne Marsh, and Lee Konitz that appears in Eunmi Shim's book Lennie Tristano: His Life in Music.

There was a multi-part series that aired on WNYC on The Jazz Loft Project. This program along with extra material, including recorded music from W. Eugene Smith's tapes, is available via the link provided below. I urge you to tune in to these programs and take a look at Sam Stephenson's wonderful book.

http://www.jazzloftproject.org/?s=radio

It's Still Early

I may have something to post later today. But I'm behind in my reading: Philip Radcliffe's Beethoven's String Quartets, Richard Gaskin's The Unity of the Proposition, remaining pages of two James Ellroy novels, remaining half of Proust's Swann's Way, and a recent Alexander McCall Smith, Isabel Dalhousie novel entitled The Charming Quirks of Others. I'm also behind in my serious music listening. My personal assault on the humanities.

I'll have more to say about the wing-nuts' assault on the humanities another time. We may be at a Duchampian moment - Oprah, Dr Phil and our lives; not just a choice between creating art and playing chess.

Bill Harris, Man of Letters, Receives Kresge Eminent Artist Award

Bill Harris poet, dramatist, Wayne State University Professor, and man of music has received the Kresge Foundation Eminent Artist Award. Its previous recipients were the visual artist Charles McGee and the musician Marcus Belgrave. Professor Harris's many accomplishments will be found in the link below.

http://detnews.com/article/20110127/ENT01/101270311/1033/Newest-Kresge-award-winner--Bill-Harris

David Murray and Author

Chris Hedges - Death of the Liberal Class

When I lived in Grosse Pointe Park, Mi., sixteen or so years ago, one of the singular benefits of this location, in addition to the trees and lake St. Claire; was the ability to receive Canada's public television station TVO - TV Ontario. I was directed today to a lecture at the University of Toronto by the journalist and author of The Death of the Liberal Class, Chris Hedges. The link is:

http://www.tvo.org/TVO/WebObjects/TVO.woa?videoid?738255592001

Do not watch watch this lecture! Unless, that is, you wish not to remain totally in the dark as to where you (we) are.

Detroit Matters

Over the past three weeks I've needed to listen nearly every day to Detroit's Gene (aka Clarence) Shaw's excellent CD Breakthrough that was recently reissued by Dusty Groove America in its Essential Reissue series. Shaw's tune "Autumn Walk" caused me to think about whether there is such a phenomenon as Detroit rhythm. I think that Benny Golson's Killer Joe and Whisper Not have a certain characteristic Golson (Lee Morgan?) rhythm - let's call it Philly Rhythm. Motown connoisseurs will say Of course there's a Motown Sound and Motown Rhythm. True. But where did that (1959) Funk Brothers' sound and rhythm come from? From the Bluebird? Rouge Lounge? Kline's Show Bar? Flame Show Bar? (See Lars Bjorn & Jim Gallert's Before Motown, University of Michigan Press, 2001) As I listen it seems to me that a major element of Detroit's rhythm resides in its behind the beat motion: a Lester Young rhythmic aspect to be sure, but more regular in its pulse.

I've also been listening to Thad Jones' CDs. Detroit tenor saxophonist Billy Mitchell plays on Jones' two Blue Note discs - Detroit-New York Junction and The Magnificent Thad Jones. Listening to Billy Mitchell's playing caused me to think of Detroit tenormen Lucky Thompson and Yusef Lateef. Listening to each in turn brought out in my music-mind a rhythmic pulse in their playing that is Detroit Rhythm - 1956 Before Motown Rhythm. It also reminded me of how wonderful their playing was - each man had his own sound certainly.

Detroit poets have a rhythm laid in their songs too. Listen to Philip Levine, John Sinclair and Bill Harris.

Beethoven was certainly a rhythm-master among other musically-wicked things. Good news on this front. The Budapest String Quartet's Columbia recordings of the complete Beethoven String Quartets have been reissued on CD and are finally available at your local internet record store - eight discs for about $33.00US.

Happy Days.

Where It Used To Be

I used to read the New York Times most mornings. I still look at the web-edition but I rarely read it - except for Paul Krugman and Frank Rich, that is. I do read the Guardian newspaper every day to find out what's not happening in the United States of America and what is happening in (and to) Detroit, Michigan. I started reading the Guardian for its arts reporting, especially its coverage of music and books (literature and non-fiction). Geoff Dyer who is a favorite author of mine writes for the paper from time to time. He authored the insightful But Beautiful: a book about jazz. He also reported on the first electronic music festival that was held in Detroit, Michigan in 2000. The Detroit piece appears in his Yoga for People Who Can't Be Bothered to Do It. He remarks in the latter that When asking for directions in Detroit, one is given as a reference (coordinate) where something used to be located. "It's around the corner from where the train station was." Well the Michigan Central Station is still off of Michigan Ave.; but just barely. I direct your attention to the recent photo feature in the Guardian. 


http://www.guardian.co.uk/artanddesign/gallery/2011/jan/02/photography-detroit


This brings me to next time.

Re-listening to John LaPorta

LONEHILL JAZZ has reissued the Complete Debut Recordings of John LaPorta - Quintet, Quartet, Trio & Duo (2 CDs). I've spent a few hours with this music recently. I recommend that my reader(s) find out about the music of John LaPorta and his musical associates Louis Mucci, Wally Cirillo and Ed Shaughnessy (and the others). Stylistically this music comes to us through Charles Parker, Bud Powell and Lennie Tristano (and that music comes to us through Prez . . . .). Anyway get a hold of LaPorta et al. and get next to this music. 

One Thing Leads to Another

For a number of years I've owned a four CD set entitled The Debut Records Story. It consists of a sample of the recordings produced by the company between 1952 and 1957, i.e., between Debut's debut recording of the Charles Mingus Quintet with Lee Konitz and its final recording of the Shafi Hadi Sextet. Debut Records was founded by Charles Mingus, his wife Celia, Max Roach, and Margo Ferraci.
   The sound quality of these recordings is remarkable. The music has an exciting aspect to it that is not fund in many of today's recordings. The work of Thad Jones, John LaPorta, Miles Davis and Shafi Hadi is especially worth noting. I think the excitement of these recordings resides in their not having been properly heard heretofore. This is a result partially of the vinyl aspect and partially of the artists' control of the recording process. Unless WKCR-FM decided to devote a Sunday program to Debut Records, most of us wouldn't be aware of Debut Records. By my count there are twenty-seven titles in the Debut catalogue, the most famous of which is The Quintet: Jazz at Massey Hall featuring Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach. Everyone knows about this recording. The Debut recordings that have captured me are the artists who are not as well known (or are not known for their Debut recordings)---Kenny Dorham, Sam Most, John LaPorta, Wally Cirillo, Teddy Charles, Thad Jones. Shafi Hadi, Clarence (Gene) Shaw.
   I had planned to go on. Instead I urge you to listen to the Debut recordings.

Getting Started

My new blog will be devoted to thinking about music, philosophy, literature and my former home towns: Detroit, Highland Park and Grosse Pointe Park. Michigan. I'm particularly interested in thinking about the musics and intellectual currents as I have experienced them over the past fifty years. Although I have lived in Columbus, Ohio for over fifteen years, I haven't developed many constructive feelings about my adopted hometown. Columbus will be mentioned but rarely used.

Testing

Today begins my new blog devoted to thought about music, philosophy, and literature.