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  • Mort Weiss wrote on October 28, 2012 report

    Yep! Marc tells it like it is and was and Ian lays it out for you in a very few words missing nothing of the essay----ONE THING though (maybe I missed it?) Petrililos recording ban------and before LPs, BIRD stated that if "ya can't say it in two choureses somethings not right". Of course Most of us saw bird taking 3-10 choureses on tunes esp. up things like KO KO et el. Good article! Nice to see that there are still some folks that take the music seriously! Mort

  • Mort Weiss wrote on October 28, 2012 report

    Just saw the the video of Take Five below. Was talking to my old friend The Senator Eugene Wright the other day. Many many years ago we'd hang together when he came to L . A. when he was with Buddy De franco-cats 87 now and still plays--Never for get the the litle concert we played together in Dana Point Calif. Jimi Smith on drums Gary Case on guitar me on clarinet and Eugene. Ahhh yes . There were such days! Mort

  • Ian Patterson wrote on October 28, 2012 report

    Thanks for your feedback Mort. This allows me an opportunity to add a few more words beyond the limitations of the article length in praise of Marc's book. Sure, I missed stuff out, but the aim is simply to engage people's curiosity enough so they go and read this book.

    So much of the material is sourced via interviews with a plethora of folk who were part of the scene in those years from the 1940s through the 1970s - it's really an impressive roster: your old pal Buddy Defranco; Sonny Rollins; Dionne Warwick; Burt Bacharach; John Levy; Creed Taylor; Joesph Jarman; Nat Hentoff; Randy Weston; Billy Taylor; Lennie Niehaus; Ira Girtler; Jon Hendricks; Benny Powell; George Wein; Dave Brubeck; George Avakian; Orrin Keepnews; Johhny Mandel; Chico Hamiton; Benny Golson; Rudy Van Gelder; Lou Donaldson; Grace Slick; Chick Corea; John McLaughlin; Ron Carter; Randy Brecker; Gary Burton....
    When I said thoroughly researched I wasn't kidding.

    Myers has done a really fantastic job. This book should be of interest to anyone interested in or concerned with jazz today, as a lot of the issues that Myers delves into have strangely familiar echoes today - technology, social trends, new markets and economic forces, media...

    Those were indeed the days, unrepeatable days, but so are these.

    All the best Mort. Thanks for your energy.


  • Mort Weiss wrote on October 28, 2012 report

    Easy to for get----BUT, Joe Morello was one BAD ASS MOTHER F**KER!!!!! Mort

  • John Calvin Oates wrote on November 03, 2012 report

    Though I'm not sure what Grace Slick (Jeez, Starship!) has to do with jazz, Marc's socio-political approach seems to be a new and fresh one. Looking forward to reading all 266 pages, and hope it's gonna be a huge success.

  • Chris Burnett, American Jazz Museum wrote on November 08, 2012 report

    "Jazz's challenge going forward will be to attract new musicians who are able to find new ways of expressing the music that not only pay tribute to jazz's past but also interpret contemporary life in a way that resonates with new listeners." Marc Meyers: Why Jazz Happened
    - - -
    Indeed this is the challenge going forward. Jazz, as a music, must indeed resonate with individuals engaged in our contemporary lifestyles today. In doing so, jazz, as a product must engage individuals within the context of our contemporary lifestyles of today as well. You can't present jazz the way they did in the 1950s and expect to sell out clubs today because there are so many competing interests for people to engage as entertainment now. We have to return emphasis to the live jazz listening experience - at clubs, concert halls and even via the "live streaming" of concerts using technologies of our times.

    I look forward to the next developments in the jazz continuum. I am optimistic about the future of the music - browse this site to see all of the great music being created in our own time at all levels. Although instrumental music and the arts are being withheld from too many public school in the US, private community programs seem to be attempting to fill the void. If the US military jazz bands become publicly devalued and thus go away, then that would be a sign for concern as to the relevancy of the music to the public discourse in context. Jazz music is about narrating life from personal experience. That can always be interesting ...

    Great book and congratulations to Mr. Meyers! Cb