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I studied with Jack Reilly in the mid-80's and I heard him in concert 3-4 times. Each time he programed his own compositions, all of which I would not define as "mixing" jazz and classical genres but of composing a true synthesis in a most natural way. His 1957 Sonata in Dminor is a perfect example of his talent for composing music that sounds classical and jazz at the same time.
One doesn't compose, that is, take each music, jazz/classical, and force feed them into an amalgamation of sorts and suddenly have a synthesis.
Vituos doesn't have a clue. His music, like his bass playing is stiff, forced, and outside.
This interview reveals a man on a mission to promote himself and only himself as "the" master of both and the only one who can straddle both camps and make it "real".
You see, having a big ego means to me as taking a left turn in on yourself when had he taken a right turn he would have entered into the realm of the creative force of the universe. It is here that one can find unity and oneness and truly "see" a third stream music as one stream!!
Via Staffarda 15
Thanks for writing. While I didn't do the interview (Paul did, I think, a bang-up job), I have interviewed Miroslav in the past. He undeniably has strong opinions about his place in the world, and perhaps overstates his importance.
That said, I don't agree with your assessment of his music. I think the quartet he had with John Surman, Jon Christensen and, first, Kenny Kirkland or, later, John Taylor, made some beautiful music - First Meeting is, in fact a desert island disc for me.
I agree with some of the things you say in principle, but also feel that, while his place in the history books will not likely be up there with what he feels is his place, he's not been an insignificant player either.
But that's what these discussion forums are for - we don't always have to agree, but certainly have to respect each others' views and I certainly do respect yours.
All About Jazz
Dear Mr. Kelman,
And thank you for your thoughts on my thoughts. I have the deepest respect for your contributions to AAJ, indeed, in fact all of the writers on the AAJ staff are excellent.
However, MV does vastly overstates his importance as an innovator, and that's what I found most disagreeable about his personality. As a fan Flaubert's novels, his reaction to MV's auto-hagiogrphy would solicit a huge belly laugh. I agree with Gustave when he says that an artist must never blow his own horn, that is, praise himself, but remain humble and it's in the state of humility that the muse visits and serve up the "food" that makes up his/her creations.
And I will check out the cds you mention and listen to the bass parts to hear if he really listens democratically to the other players!
Best to you,
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