Wednesday, April 12, 2006

but did it swing?

"later, [Tyshawn] Sorey broke loose, putting on a conceptual sideshow. In the third song, after simultaneous trumpet solos, he bent forward over his snare drum, blowing on its surface; he then picked it up, turned it around, and held it in front of his face, making percussive sounds with the metal wires. Then he turned to his floor tom and wrestled it a little, scraping its legs on the floor. (He looked about to transform the instrument's purpose, as if he would next use it to take a photograph or water a plant.) He turned the tom over, so that its legs stuck up in the air, while still shaking and shoving it. He wasn't playing the drum in the usual sense; he wasn't hitting it with sticks. But his motions were part of his solo, and this required no explanation."

- Ben Ratliff on Shane Endsley and Jonathan Finlayson.


"As we move into the second century of jazz it is important that our standards remain high. We must encourage and allow for the natural occurrence of the evolution of jazz, which involves simple, not-for-profit human interaction for art’s sake, including the inherent relationship between master and student. This simple and humbling relationship needs to be recognized as the principal model for jazz education and, whenever possible, heralded as such."

- Bobby Broom on traditional mentoring in jazz