Blue: The Murder Of Jazz
by Eric Nisenson
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Book Summary Information
Author: Eric NisensonEdition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2000-01-14
ISBN: 0306809257
Number of pages: 272
Publisher: Da Capo Press
Product features:
- ISBN13: 9780306809255
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
Book Reviews of Blue: The Murder Of Jazz
Book Review: Worth reading.
Summary: 4 Stars
Though repetitive towards its conclusion, this is one man's passionate exploration of an opinion; to expect a technical analysis of music or a thorough presentation of the history of jazz is to miss the point of the narrative. Nisenson was accused of not addressing the music he discusses specifically, but in all fairness, he does so on general terms with the clear aim of appealing to both musicians and general listeners. What emerges from his observations is not so much an adequate thesis on the so-called "death of jazz," but rather an attack on pretense, namely that of the neoclassicists who have deemed themselves the torch-bearers of the "jazz tradition." In this respect, Nisenson is correct in his assessment of those who judge the parameters of jazz too narrowly and impose their views as objective historical assessments of the genre. However, stressing "innovation" is in itself a limitation; I share Nisenson's view that jazz throughout its history and via its most notable artists has exhibited a profound vitality that can only come from searching for new directions and nurturing personal styles--but "innovation" is only one factor that may shape an art form. One of the reasons people still enjoy the jazz eras that produced Miles Davis, Coltrane, etc. is because these artists were in an ideal environment to create and shape their visions. We live in an age where music, unfortunately, is no longer about just music. Consider the media baggage: videos, promotions, images, websites, endless recordings in a variety of formats, hybrid genres, gimmicky categories--it's a whirlwind of clutter. Add this to the fact that everything is studied by marketing, advertising, and focus groups, and it becomes impossible to wade through it all; one may lack time, interest, or both. What is actually "new" anyway? Don't we get into philosophical problems here? Coltrane was new to me the first time I heard him; I wasn't alive when he was playing. Then you have bands that "innovate" just to show people that they can; I've heard unclassifiable music (which can be a great thing) that comes across as a chopfest, with musicians trying to stick everything they know into a piece. Though awed on occasions--and certainly respectful and open-minded, I can't say I would want to listen to it repeatedly. Finally, all of these so-called "jazz wars" come down to the ear of the beholder, so to speak. Each listener has unique expectations; for some, all music must be meaningful, profound, and innovative; for others, it doesn't even matter. Nisenson has a point when he emphasizes that no one should have the audacity to declare himself an authority in what is or isn't the "jazz tradition" and who can or can't play it. Marsalis has said that "innovation isn't necessarily art," and I agree with that as well. All in all, there's nothing wrong with personal preferences as long as you withhold judgment. We look at our past and declare certain artists as shapers of the genre's direction (i.e. Miles Davis)--but at the time, I believe they were just being themselves, and we, with the benefit of hindsight, construct these neat histories to make sense of it all. This book poses good questions to think about, so most jazz fans should find this an entertaining read.
Summary of Blue: The Murder Of Jazz
Once a thriving body of innovative and fluid music, jazz is now the victim of destructive professional and artistic forces, says Eric Nisenson. Corruption by marketers, appropriation by the mainstream, superficial media portrayal, and sheer lack of skill have all contributed to the demise of this venerable art form. Nisenson persuasively describes how the entire jazz ?industry? is controlled by a select cadre with a choke hold on the most vital components of the music. As the listening culture has changed, have spontaneity and improvisation been sacrificed? You can agree or disagree with Nisenson?s thesis and arguments, but as Booklist says, ?his passion is engrossing.?
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