BOOK
REVIEW by Willard Manus
"For
the past ninety-five years jazz's survival has been based on the ability
of musicians to interpret their times without relinquishing the characteristics
that define the art form. These characteristics include the blues, a deep
feeling for the poetry of the music, and a burning desire by musicians
to stand out through improvisation. From 1942 to 1972--when much of the
jazz that's consumed today was created and recorded--musicians were able
to forge new styles. Such events continue to occur today. Jazz's challenge
going forward will be to attract new musicians who are able to find new
ways of expressing the music that not only pay tribute to jazz's past
but also interpret contemporary life in a way that resonates with new
listeners."
Thus writes Marc Myers, whose new book WHY JAZZ HAPPENED has just been
published by University of California Press. The history of jazz's evolution
has been explored by legions of writers, but Myers has still managed to
come up with a fresh take on the subject, thanks to his analysis of the
social forces which have helped shape jazz's evolution over the years.
A case in point is the G.I. Bill. Passed by Congress in 1944, it provided
benefits for qualifying veterans that included enrollment at accredited
colleges. Jazz musicians who had served in the military could now afford
to study musical theory and composition on a high academic level, perhaps
for the first time. "Many emerged with classical skills they would
never otherwise have acquired," writes Myers. "They went on
to develop new jazz forms that were tempered by counterpoint and modern
classical theories.
"Musicians like Dave Brubeck, John Lewis, Bill Holman, Dick Hyman,
Shorty Rogers, Buddy Collette, John Carisi, Bill Triglia, Britt Woodman,
and many others who studied under the G.I. Bill developed jazz styles
with a sophisticated formal flare. Musicians who combined classical and
jazz also influenced other skilled jazz musicians who no longer found
bebop as radical or challenging as it had once been."
Myers then investigates the impact of technology on jazz. The long-playing
record, for example, paved the way for deeper, more complex music; equally,
the invention of magnetic tape also provided producers and artists with
lots more leeway. "In some cases, producers called for additional
takes of the same song to strive for the best possible version of it,"
comments Mayers. "But there was another motivation--insurance against
takes with flaws that producers heard only during the playback and mastering
process after the musicans had departed." This allowed the producer
to cut a bad note out of the master and replace it with a good note from
another take.
Myers also deals with some of the more lesser-known influences on jazz
history: the importance of radio and such popular disc jockeys as Symphony
Sid and Fred Robbins; the emergence of the West Coast television industry
as a musical force. "For the white jazz musican who could compose,
arrange, sight-read perfectly and socialize comfortably on golf courses
with the contractors and producers who did the hiring for studio jobs,
Los Angeles was idyllic...Many musicans had to organize their calendars
and hire telephone answering services to field all of the job offers...In
this intoxicating culture of long horizontal lines, rhythmic surf, lingering
sunsets, prefabricated neighborhoods, curvy cars, cocky narcissism, drugstore
stardom, and stubborn expectations of fame, a new modern jazz style emerged
in the 1950s."
Myers doesn't neglect the political, racial and legal battles that also
helped alter the face of jazz, but for the most part he concentrates on
the smaller touches in the music's portraiture, the brushstrokes that
give it its unique character.
(ucpress.edu)
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