One can argue that the economics of the music industry drives what we are allowed to hear. To a certain extent it would be correct that in Europe during feudalism the wealthy aristocrats controlled through patronage what composers were able to write, and today the tyranny continues via the free market. But the truth is that real artists compromise little. When Baron von Kayserling, the Russian ambassador to the Dresden court, commissioned Bach to write a harpsicord piece that might help him with his insomnia, Bach did not have to create anything nearly so profound as the Goldberg Variations (named after the Baron's harpsicordist). But he had a certain standard of excellence and he wasn't going to compromise.
Likewise, when a superb musician such as Wes Montgomery or Nat King Cole abandoned the small-group, strictly-jazz format to make pop-oriented, little-room-for-improvisation records, you still had world class artists making good music. The formats may have limited their range of expression, but these recordings left no doubt that Montgomery and Cole brought their prodigious talent and big-hearted interpretive style to the studio. The audience got their money's worth.
Where are the artists of this caliber today? How often does even a Nora Jones come along? For that matter, why did the evolution of jazz stop with Coltrane?
It is impossible to have any discussion of this matter without considering how pop culture has changed since the Motown-Classic Rock days. Leonard Pitt, Jr. describes the culture of his teen-age sons as "materialistic, misogynistic, pornagraphic and violent. A culture that proclaims itself authentically black when the truth is, it could not be more anti-black if it were made by the Ku Klux Klan." In its 22 year history, rap has yet to produce a memorable song. The format does not honor musicianship with the modest exception of the syncopated percussive effects supplied by the DJ. This genre is like reality TV: all hype, hustle, but no heart. There is more taking place of musical value in the obscure world of modern piano rag composition than in the rap and grunge cultures combined.
I, like many others who have contributed to this thread, am always on the lookout for new artists. While focusing on jazz and classical, my journey also has taken me to the music of Senegal, Brazil, Cuba, Cape Verde Islands and so on. I might not always understand the lyrics, but it's soulful, musical and doesn't get boring after repeated listenings.
The point I have been leading to is that despite the no-talent invasion of popular culture, even in this country there is opportunity for new artists. Indeed, because of the sorry state of affairs we are hungry for new artists.
Likewise, when a superb musician such as Wes Montgomery or Nat King Cole abandoned the small-group, strictly-jazz format to make pop-oriented, little-room-for-improvisation records, you still had world class artists making good music. The formats may have limited their range of expression, but these recordings left no doubt that Montgomery and Cole brought their prodigious talent and big-hearted interpretive style to the studio. The audience got their money's worth.
Where are the artists of this caliber today? How often does even a Nora Jones come along? For that matter, why did the evolution of jazz stop with Coltrane?
It is impossible to have any discussion of this matter without considering how pop culture has changed since the Motown-Classic Rock days. Leonard Pitt, Jr. describes the culture of his teen-age sons as "materialistic, misogynistic, pornagraphic and violent. A culture that proclaims itself authentically black when the truth is, it could not be more anti-black if it were made by the Ku Klux Klan." In its 22 year history, rap has yet to produce a memorable song. The format does not honor musicianship with the modest exception of the syncopated percussive effects supplied by the DJ. This genre is like reality TV: all hype, hustle, but no heart. There is more taking place of musical value in the obscure world of modern piano rag composition than in the rap and grunge cultures combined.
I, like many others who have contributed to this thread, am always on the lookout for new artists. While focusing on jazz and classical, my journey also has taken me to the music of Senegal, Brazil, Cuba, Cape Verde Islands and so on. I might not always understand the lyrics, but it's soulful, musical and doesn't get boring after repeated listenings.
The point I have been leading to is that despite the no-talent invasion of popular culture, even in this country there is opportunity for new artists. Indeed, because of the sorry state of affairs we are hungry for new artists.