Jim Doxas: Beat and Beatitudes
JD: You have to distinguish between university music students and the general listening public. The former are serious about music, with most of them hopefully serious about making a career out of it, so their ears are already quite developed. Nonetheless, in my view, most of them are not familiar enough with the history and evolution of their instrument. How can someone ever hope to understand the sax if he or she has never listened to Stan Getz?
For sure, the general listening public is not being well-served by monophonic music or simply boring music. In terms of jazz, I think it's simply a matter of exposure and education. Those who have not been previously exposed to it will not be able to understand what's going on because their ears can't handle the more complex forms of music. Which of course doesn't augur well for jazz, but we do what we do because we love doing it, and if there's an audience for it out there, so much the better.
AAJ: What music are you listening to now? align=center>
JD: The new Dave BinneyCities and Desires (Criss Cross, 2006).
AAJ: What music were you listening to ten years ago and are still listening to?
JD: The Police, Michael Jackson. From jazz, Frank Sinatra and Oscar Peterson.
AAJ: A lot of jazz musicians have spoken against fusion jazz. Your thoughts?
JD: I've never really gotten into fusion, but it's certainly a legitimate form of expression. There have been some good things that have come out of it. The music of John McLaughlin and Steps Ahead comes to mind.
AAJ: Do you think jazz is in danger of being hijacked by more and more technology? I ask this noting that most of your repertoire, whether playing with John Roney or the Chet Doxas trio, is basically un-plugged.
JD: No, Not really. I think that kind of relates to the drum machine question. I think the majority of musicians in my generation embrace, rather than dismiss, the new technology and its virtues. Those days are gone when enhancing your sound with technology made you less of a purest.
AAJ: And now for the desert island question. So there you are, stranded for life, and you're allowed 100 minutes of your favorite music. And the winners are?
JD: Equal quarters of: Miles Davis's Plugged Nickel (Legacy, 1965), John Coltrane's A Love Supreme (Impulse!, 1964), Frank Sinatra's Sinatra at the Sands (Reprise, 1966) with Count Basie, and finally Keith Jarrett Live at the Blue Note (ECM, 1995).