Here's something that may surprise you: Tone deafness is a dominant gene, which means the ability to carry a tune is recessive. Since most jazz artistswhen forced tocan carry a tune, the ability to play jazz is probably also recessive.
Genetics tells us that if jazz musicianship is recessive, two jazz musicians who marry and procreate have a much higher than normal risk of creating a new jazz musician. Apart from legitimate concerns about adding to the overpopulation of jazz players, it raises this very real question: Who, exactly, will support the parents?
Dear Mr. P. C.:
I am convinced that jazz, when played by mediocre musicians, is the worst possible music genre to listen to compared to any other music genre played at the same low level. Do you agree, and if so can you explain the reason? Thanks.
True, mediocre jazz is the hardest mediocre music to listen to, but jazz audiences never really listen anyway. That's the key to mediocre jazz's pervasiveness; if the audience members actually paid attention they'd defect to other, less offensive mediocre music.
On the positive side, this shows that even among its lesser artists jazz is the most uncompromising musical form; they approach mediocrity with a tireless work ethic and a relentless drive for perfection.
Dear Mr. P.C.:
It has come to my attention that the suck quotient of most band boils down to an old axiom: "The quality of the music is inversely proportional to the amount of equipment the band shows up to the gig with." It's gotten to the point where if I see a huge band truck parked out front, I won't even set foot in the club. Is there something to this or am I just experiencing equipment envy?
You know that bodies absorb sound, right? That means in a loud room, each audience member is creating a better listening experience for all the others.
The loud music audience represents the best in mankind, a selfless coming together of strangers to create a better world for all. But you want the oppositea quiet room, where you and a few fellow elitists can separately suffer, in darkness, what little sound there is. I'll let you figure it out.
Enjoy Three Days on the Beach with Snarky Puppy, Brian Blade & The Fellowship Band, Lettuce, Cecile McLorin Salvant, Lila Downs, Michael McDonald Acoustic Quartet, Christian Scott aTunde Adjuah, Flor de Toloache and more—February 14-16, 2020 at the North Beach Bandshell in Miami, FL.
The winner receives a 3-day pass for two. Excludes travel or lodging.
Acclaimed by the New York Times as one of the “Top 10 Definitive Moments of the Decade in Jazz Music,” GroundUP goes beyond the typical festival experience, breaking down the barriers between audience and artists...
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!
Find All About Jazz articles, news, musician pages, and more!