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Thankfully, these musicians understand that true jazz-fusion has much more to do with Bitches Brew than with Kenny G.Some other artists, rather than embracing rock, are rekindling a spirit of improvisational experimentation similar to that of Ornette Coleman’s Free Jazz or whichever late Coltrane composition you care to cite. Many of these artists are coming at things from the point of view of introducing rock or funk elements into jazz to give it greater firing power (I’m thinking of artists/groups like Medeski, Martin and Wood, Charlie Hunter and Headless Household). Several indie-oriented jazzers appear to have taken up the innovation torch that was dropped more than two decades ago and are producing jazz that, once again, has balls to it. Marsalis and his disciples were telling me, jazz really had died somewhere back in the early seventies after Coltrane had died, while Miles was in hiding and when Coleman had gone mainstream. Gradually my sense of jazz as rebel music disintegrated as did the illusion that jazz was a living art, leaving in its stead a sense of disillusionment and a conviction that, despite what Mr. I also began to question the creativity of modern jazz as Downbeat heralded a new generation of “young turks” who seemed to represent technical showmanship more than the soulful, simplicity of Miles Davis or Thelonius Monk. Then somewhere in college, after the newness had worn off, I began to realize the degree to which jazz had become institutionalized - I think my first clue was the discovery that “Jazz Studies” was being offered as a major at many universities! Wynton Marsalis (my erstwhile hero) had donned the mantle of jazz savior and was touring the country with his repertory jazz orchestra recreating jazz recordings from the ’30s and ’40s verbatim while various jazz historians worked at compiling definitive jazz collections for the Smithsonian. I studied jazz piano and learned to scat. I soaked up biographies of jazz greats, cataloging names and birthdates and generally becoming a trivia monger. Jazz became rebellion music for me and I consumed the stuff like some sort of swing-starved glutton. The first jazz album I owned was Wynton Marsalis’ Live at Blues Alley and the reason I liked it so much was mainly because my dad, being a product of the sixties and mainly into acid rock, hated it! He kept telling me that it was just a phase and that I’d grow out of it. Let me give you a little background first. His musical interests include anything on the experimental side, and particulary music that brings elements of pop music and classical theory together.īefore the interview begins, Noah included some further background about himself and the state of music today. Wane holds a bachelor’s degree in music composition and theory. Currently, his work can be read in the Splendid e-zine.Īlso, keep your eye out for some of his reviews in the You Could Do Worse paper ‘zine.
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Noah Wane is a Boulder, Colorado-based, freelance music critic. This interview was originally posted at the on-line magazine Splendid e-zine. Bruce Arnold conducted an e-mail interview with Noah Wane in the first few months of 1997.