How to save jazz, a simple explanation.

Can you shuffle your cheeks and/or jowls.  Not in Pittsburgh in 1920.  CLICK HERE  and keep that "cheek and jowl shuffle" behind closed doors.  I don't know what fascinates me so much with these old articles.  I guess I like the fact that jazz was so counter culture back then.  Why do you think it was so popular?  It was exciting.

On that note, throughout history, jazz has always pushed the limits.  With declining jazz record sales, it would be wise for the industry to promote that kind of jazz - the edgy, exciting, boundary pushing kind, instead of pushing the soothing background music for your wine and cheese party type of jazz.  I can take a little of that, and completely respect people like Diana Krall who do it beautifully, but it's just not cool to anyone under 30.  

I think a younger audience would be way more into jazz if they recognized it as the music of rebellion.  Music that is made in contrast to the mainstream mediocre garbage that is pumped into your head without abandon.  It's bananas, b a n a n a s.  Wake up people!  You are being manipulated by "music industry professionals" a.k.a. uncreative old guys making money off of you, into a sugary dumbed down world of boring, repetitive, overproduced, overhyped fluff for simpletons.

Look at this video, wait until about 1:10 in, and you'll see how exciting new jazz is.

Theremin...not a swine flu drug.

If you are wondering what this Theremin thing is, you are not alone.  However, it does, like all odd stuff, have it's own little fan club.  Hey, while I'm on it...don't forget that you are unique, just like everyone else.  I'm not even sure you got that, but I had a nice chuckle.  So back to the Theremin, simply put it is an electronic instrument played by proximity.  It's also the oldest electronic instrument currently played.  If you are wondering what to make me for Christmas, and you have skills with a soldering gun, this is it. 

The subject is...Jazz!

I am heavy on George Russell these days, so I'd like to share this with you.  It's funny listening to this because I feel like a lot of what you hear on this would be considered "modern" today.  Start listening at 6:10, and dig the groove.  To say George Russell the arranger and composer was ahead of his time is a major understatement.  If you like this, seek out "George Russell - Jazz Workshop."  I'm listening to this non-stop these days.  Even if you don't like the songs on the album, you've got Bill Evans on Piano, Barry Galbraith on Guitar, Paul Motian on drums, Milt Hinton on bass, Art Farmer on Trumpet, Hal McKusick on sax.  I especially like how George Russell says at 11:10 that tonally it is an unadventurous piece.  His book "Lydian Chromatic Concepts of Tonal Organization"  changed the landscape of jazz.  Tonal Gravity!    He gives a brief explanation of that here at 11:30.