Jazz for aficionados

Learsfool, your description is excellent; no need for qualifiers. I would contribute to it only by approaching it from a somewhat different angle.

There is no possible way to exaggerate the level of skill possessed by an excellent jazz musician. Their understanding of, and ability to move around within the world of harmony, is simply astounding. As you point out, there exists a fairly well established "repertory" of tunes that working jazz players tap for their performances. This list of "standards" grows over the years with more modern tunes by contemporary/current composers. Learning the melodies of tunes seems like child's-play when you consider what it takes to improvise (spontaneously compose) a credible solo (new composition) within the unique harmonic framework of any given tune.

Consider a typical "standard" jazz tune with a 32 measure, AABA form such as "Cherokee"; a tune that is 32 measures long, with an 8 measure verse (A) which is then repeated (A), followed by another 8 measure section (B) referred to as the "bridge" which harmonically bridges the two A sections to the returning and last (A). This bridge is usually recognized by a seemingly harmonically abrupt and even unrelated harmonic center; but, usually sets-up the return to the harmonic center of the "A" section. Now, consider that each of those 8 measure sections is made up of a sequence of harmonic "changes" (chords). Each of those eight measures will have one, two, three or even more chord changes within that measure. The choices of harmonic changes (chords) that a composer chooses create a "harmonic rhythm" which gives a tune harmonic pulse or momentum; a sense of forward movement. Each of these chords, while related, has it's own "palette" of color choices (note choices) that it offers the improviser as he travels through this sequence of palettes in real time. The improviser then has to choose from each individual palette (chord) and play notes that not only are found in that particular palette, but also relate to the palette before it, the palette that follows it, and most importantly the entire "box" of palettes (AABA/32 measures). The best improvisers can choose colors (notes) that are not found in any given palette (they are outside the harmonic center of that particular harmony) and still make them relate to the overall harmonic scheme. Consider just how little time an improviser has to react to the constantly changing harmony, and still choose notes that are more than simply "correct" notes and actually add musical meaning to the improviser's spontaneous composition.

Musical meaning; THAT is what seperates the "good" improvisers from the greats and what defines a true artist. It's possible to master the mechanics (physical and intellectual) of the process of improvisation to an extent that can be very impressive, but still shortchange the listener with an absence of music. While this can be subjective, the educated listener usually knows it when he hears it (or doesn't). This is the main reason that a more in-depth understanding of the music making process helps to appreciate who the real artists are. A visceral, non-analytic, appreciation of music is great and truly the bottom line; but, understanding the proces better can clear the way for a deeper understanding of the art.

******"On the right equipment, classical music sounds very good. I suppose that's why classical musicians are always into the high end."******

Not so fast my friend!

All music can be appreciated on almost any system worthy of the name. Even table radios. I remember many enjoyable sunday afternoons listening to classical music broadcast by Bayerischer Rundfunk on a portable / table Grundig radio. All the in-laws gathered around.

Stereo review once did a series on the stereo systems of professional musicians. I was shocked. My little run of the mill stuff was the equal of them all, at least price wise.

Do not connect or associate music appreciation with the so-called 'high end'. The two are not related in the least. Those people have done enough damage as it is.

Music appreciation of the 'high end' seems to stop at 'Kind of Blue', and then only if it's an 'audiophile' pressing. Just saying.

Cheers

************"A visceral, non-analytic, appreciation of music is great and truly the bottom line; but, understanding the proces better can clear the way for a deeper understanding of the art".*********

Your post was very informative. You should be a teacher. Maybe you are?

But the quote above is the most IMPORTANT thing you said. It just so happened that I was listening to to the following CD as I read your post.

Fred McDowell -- Amazing Grace
Mississippi Delta Spirituals by the
Hunter's Chapel Singers of Como, Mississippi

These folks are as far away from understanding music theory on your level, as a person can get. But they do indeed get the visceral part. To me it says, HOME.

BTW, I do pause every now and then to make a joyful noise to The Lord.
In that spirit let me recommend:

Various Artist -- Say Amen, Somebody Org Soundtrack
Chanticleer -- How sweet the Sound
Robert Shaw -- American Hymns and Spirituals
Chanticleer -- Where the Sun Will Never Go Down
Fairfield Four -- Standing in the Safety Zone

As Cannonball once said, "it's all the same thing"

Cheers

*****These folks are as far away from understanding music theory on your level, as a person can get. But they do indeed get the visceral part. To me it says, HOME.*****

You would be surprised. What I described above is as rudimentary as one can get when one considers just how much there is to learn. The folks you mention would most certainly have this knowledge and more. I think that the point is how little most non-musican music lovers/audiophiles understand, how much there is to learn (if wanted), how much learning can improve appreciation, and that there is often a visceral aversion to learning more.

I hope that this does not offend anyone, but IMO, if a jazz lover doesn't know (for example) that most blues tunes are 12 measures long, I would suggest that the love doesn't go quite deep enough.

****'You would be surprised'****

Nope, don't think so. I stand by what I said. When it comes to the REAL blues, you might be surprised.

**********but IMO, if a jazz lover doesn't know (for example) that most blues tunes are 12 measures long, I would suggest that the love doesn't go quite deep enough.******

I am not offended in the least. I know about the Blues thingy, but I am surprised you would use that, because a lot of the Jazz that you have presented on this forum,as being your favorites, has no blues element at all. Which pretty much sums up what's wrong with so-called MODERN / WORLD Jazz.

And lastly, there is no prerequisite or requirement, to have any formal education, or training, or experience, or talent, in order to appreciate music, or any other art form. If there were, the concert halls and art galleries would be empty.

But in the end, it is the non-musical, the non-artistic, who are the final arbitrators. They decide who is great and not so great. They decide who is saying something and who is not. Lack of knowledge of the blues notwithstanding.

So the consumers of all this effort by the creative musicians, are the most important folks in the entire scheme of things.

Your post was very informative to me. Rudimentary or not.

Cheers