{"id":977,"date":"2012-08-01T18:14:06","date_gmt":"2012-08-01T22:14:06","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=977"},"modified":"2019-09-12T18:48:39","modified_gmt":"2019-09-12T22:48:39","slug":"are-there-new-songs-play-whats-recorded-on-gigs","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/08\/are-there-new-songs-play-whats-recorded-on-gigs.html","title":{"rendered":"Are there new songs? Play what&#8217;s recorded on gigs?"},"content":{"rendered":"<p>The venerability, relevance and novelty of the &#8220;jazz standard&#8221; is being questioned in the jazzosphere, but I wonder about the dearth of new songs that are sticking in my latest column in <a href=\"http:\/\/cityarts.info\/2012\/08\/01\/setting-the-standards-2\/\">CityArts-New York<\/a>. In my just-\u00c2\u00a0<a href=\"http:\/\/cityarts.info\/2012\/07\/17\/live-on-record\/\">previous column<\/a>\u00c2\u00a0I reviewed recent albums by a few musicians gigging in NYC, and warned there&#8217;s no reason to expect them to do live what they committed to record.<\/p>\n<p>Abiding by space limits on both these columns, I didn&#8217;t expand as I would have, to say that while there aren&#8217;t necessarily new songs that are sticking with us or being played scene-wide, there <em>are<\/em> a lot of current musicians coming up with personal sounds (for themselves and\/or their ensembles). And if I wasn&#8217;t completely blown away by any of albums I surveyed by players \u00c2\u00a0around town last month, there are a couple of dozen recent releases that <em>are<\/em>\u00c2\u00a0rewarded repeated listening, and I&#8217;ll have to write about them soon &#8212; watch this space!<\/p>\n<p>Meanwhile, I&#8217;m looking forward to attending the <a href=\"http:\/\/newportjazzfest.net\/index.php?pID=31\">Newport Jazz Festival<\/a> this weekend &#8212; it&#8217;s got a great lineup for Saturday and Sunday, and I&#8217;ll boil down a lot of impressions for coverage in my next CityArts-New York column, to be published Aug. 14.<\/p>\n<p><a href=\"http:\/\/www.howardmandel.com\" target=\"blank\" rel=\"noopener noreferrer\">howardmandel.com<\/a><\/p>\n<p><a href=\"http:\/\/feeds.feedburner.com\/JazzBeyondJazz\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe by Email or RSS<\/a><\/p>\n<p><a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/archives.html\" target=\"_blank\" rel=\"noopener noreferrer\"> All JBJ posts <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The venerability, relevance and novelty of the &#8220;jazz standard&#8221; is being questioned in the jazzosphere, but I wonder about the dearth of new songs that are sticking in my latest column in CityArts-New York. In my just-\u00c2\u00a0previous column\u00c2\u00a0I reviewed recent albums by a few musicians gigging in NYC, and warned there&#8217;s no reason to expect [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":990,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-977","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2012\/08\/duke-and-strayhorn.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-fL","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1974,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2016\/02\/mavis-staples-hbo-doc-hits-relevant-civil-rights-notes.html","url_meta":{"origin":977,"position":0},"title":"Mavis Staples&#8217; HBO doc hits relevant Civil Rights notes","author":"Howard Mandel","date":"February 28, 2016","format":false,"excerpt":"\"I'm not as frisky as I used to be but I feel like I am,\" Mavis Staples speaks the truth with a grin and a twinkle in Mavis!, an endearingly upbeat bio doc premiering on HBO tonight (Monday, February 29). Appearing early in the month\u00c2\u00a0for a sneak preview\u00c2\u00a0at Chicago's Du\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"mavis staples performs at HBO documentary Chicago premiere Mavis! at DuSable Museum","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/02\/mavisrick-300x200.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":156,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/02\/in_the_spirit_of_originality_o.html","url_meta":{"origin":977,"position":1},"title":"A visitation with Don Cherry&#8217;s spirit","author":"Howard Mandel","date":"February 7, 2009","format":false,"excerpt":"Attempts to revisit the music of an extraordinary improviser work all too infrequently, if \"work\" means evoking something close to the living presence of the player him-or-herself. This is true even when the tribute-payers are the tributee's collaborators, bearing the best intentions. But \"In the Spirit of Don Cherry,\" an\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"CherryWolcottLona4web200x251.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/CherryWolcottLona4web200x251.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":303,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/03\/happy_birthday_ornette_roots_a.html","url_meta":{"origin":977,"position":2},"title":"Happy Birthday Ornette Coleman, roots avant-gardist","author":"Howard Mandel","date":"March 9, 2010","format":false,"excerpt":"Composer, conceptualist and multi-instrumentalist Ornette Coleman, b. March 9 1930, is widely known for \"free jazz\" -- which is routinely depicted as the most abstract and daunting music to emerge from the U.S. But this overlooks Ornette's deep roots in blues from the Southwest and his fealty to the freedom\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1784,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/03\/jazz-health-is-not-in-its-reported-records-sales.html","url_meta":{"origin":977,"position":3},"title":"Jazz health is not in its reported records sales","author":"Howard Mandel","date":"March 14, 2015","format":false,"excerpt":"Terry Teachout in his About Last Night posting \"Jazz, by the numbers\"\u00c2\u00a0conflates falling numbers of jazz cd sales with the health of the music itself. Understandable mixup, way too simple. Feeling he was burned by criticism of his 2009 Wall Street Journal column\u00c2\u00a0about the National Endowment for the Arts Survey\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/03\/to-jazz.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/03\/to-jazz.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/03\/to-jazz.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":76,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2008\/02\/butch_morris_jazz_conductor.html","url_meta":{"origin":977,"position":4},"title":"Butch Morris, jazz conductor","author":"Howard Mandel","date":"February 25, 2008","format":false,"excerpt":"(slightly corrected version)Conductor of improvisation Lawrence Douglas \"Butch\" Morris is an East Village charmer, now-too-infrequent cornetist and internationally-known instigator of large ensemble music made spontaneously in real time by free-from-convention individuals. During a radio interview for the NPR show News & Notes, Butch identifies himself as a jazz musician not\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":351,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/11\/aacm_at_45_creative_musicians.html","url_meta":{"origin":977,"position":5},"title":"AACM at 45: &#8220;Creative Musicians&#8221; span generations, U.S., globe","author":"Howard Mandel","date":"November 12, 2010","format":false,"excerpt":"The AACM -- Association for the Advancement of Creative Musicians -- continues after 45 years to encourage highly original, edgy and exciting artists -- as I detail in my new City Arts column.\u00a0Examples in New York City: reedist\/composer\u00a0Henry Threadgill's Zooid performs tonight and tomorrow at Roulette; trumpeter Wadada Leo Smith's\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/977","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=977"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/977\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/990"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=977"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=977"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=977"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}