General Motors Learns a Lesson in Jazz Song: Lyrics Matter
Jazz has been no stranger to controversy, and apparently no less so today, in Adam Pasick’s story of international affront. It might be convenient to cast blame on Lil Hardin Armstrong for the language in the 1938 song that inflamed Canadian airwaves in 2013 and caught the notice of media in China. As I see it, though, Armstrong’s song is yet another reminder of what jazz musicians had to do to earn a buck in those days \u2014 not to mention a reminder of how times have changed in China, Japan and the Arab world. Evidently, some folks at one major American corporation might just be coming up that learning curve.
-Nick Moy
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Opus De Horace
Ethan Iverson’s post pays tribute to what was probably Horace Silver’s first hit, “Opus De Funk,” with the notated music and the recording. Great stuff, as is everything on Ethan Iverson’s site.
-Michael Cuscuna
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Race in America and the Voice of Duke Ellington
This 2010 New Yorker review of Harvey G. Cohen’s book, “Duke Ellington’s America” bristles with atmosphere from many periods punctuating Ellington’s life and career: the Kentucky Club in 1926, from the plunger mute of Bubber Miley; the brilliant bands of the late 30s and early 40s, seen solo by solo; and the injustices of the 1950s that galvanized Ellington’s civil rights involvement in the 1960s. The review reopens the disquieting issue that periodically confronts great musicians in jazz: how social responsibility dovetails — or should dovetail — with musical identity and celebrity.
Have you read this book? If so, what did you think?
-Nick Moy
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The Blue Note sound: listening to the heart of Hard Bop
I think it’s safe to say that Hard Bop (as in the Blue Note sound forged by Art Blakey and Horace Silver) is the foundation of modern jazz today, even more so than the stylistic revolution (Be bop) which made it possible. Here are five prime examples.
-Michael Cuscuna
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