music: August 2007 Archives
I arrived in New Orleans Thursday, and I've barely rested since. I'm ambivalent about the whole "Katrina Anniversary" thing: one the one hand, it seems shallow and crude and beside the point; on the other, markers are makers and, when it comes to journalism, pegs are pegs. And so many smart and hard-working people in New Orleans are making use of this moment to highlight what's right, what's wrong, and what's needed. The president is here already, I think. He's supposed to speak somewhere or another tomorrow: It will be hard to get anything across over the hollow ring of his promises at Jackson Square in 2005.
I worry that the piece I just filed for Salon.com is too downcast -- there is so much good and positive going on every day here. But it's true and accurate and I mean what I say about culture leading the way. The rains come and go here lately -- light, refreshing and utterly unthreatening. Then it breaks, and the sun burns piercing hot. And I keep forgetting to leave extra time to talk to people I bump into in the street. It's like that here...
Max Roach died yesterday at 83, silently in his sleep. But from his teens until his death he was gloriously unsilent as a drummer, composer, bandleader, organizer, activist and fearless creative soul. Roach was one of those few who helped define what bebop sounds like but who transcended that and every other category.
It was hardly coincidence that Roach was at the drums for seminal or especially revealing recordings such as the late-1940s work by Charlie Parker and Bud Powell, Thelonious Monk's "Brilliant Corners," and Duke Ellington's "Money Jungle." As the drummer for Sonny Rollins's 1958 "Freedom Suite" and as conceptualist-composer-drummer for "We Insist! Max Roach's Freedom Now Suite," Roach displayed a conscience and relevance one wishes jazz could muster in these troubled times. And Roach's acts of empowerment in collaboration with Charles Mingus -- founding Debut Records, launching an alternative jazz festival in 1960 to protest the Newport jazz Festival's policies -- stand as inspirational markers for similar acts of independence by artists today, from John Zorn to Maria Schneider.
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Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
Jan Herman - arts, media & culture with 'tude
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Exploring Orchestras w/ Henry Fogel
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
Wendy Rosenfield: covering drama, onstage and off
Chloe Veltman on how culture will save the world
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary
Tyler Green's modern & contemporary art blog