#as well as a cab calloway tune and one or two others that i forget

[august--and-everything-after]

Sometimes I think I should get into the drag scene

[jazzviewswithcjshearn]

In Defense of Grace Kelly: Keep On Dancing-- How older jazz fans are pushing new fans away from the music

This article was originally conceived as a submission to Pitchfork magazine to beef up their jazz content, but the subject matter is probably a bit too obscure for their magazine, especially as a burgeoning writer.  It is largely a reaction to the views expressed on saxophonist Grace Kelly bringing new audiences to jazz by integrating dance and wardrobe choices commonly found in pop music on a popular internet jazz site.  She is bringing in people who aren’t necessarily jazz fans but enjoy the bounciness of the music, and that is only good because a selected few will check out the music on a deeper level.  Enjoy!

In Defense of Grace Kelly, Keep On Dancing: How jazz fans are pushing new fans away from the music

I have been a jazz fan all my life pretty much, I was incredibly blessed to be raised by a mother who played me lots of records that belonged to my father that he left behind after he got up and left  us when I was 2 years old.  Among the records I loved (and still love)  growing up were classic Blue Note records by Jimmy Smith, Art Blakey, Kenny Burrell and Horace Silver, CTI albums by Stanley Turrentine, Freddie Hubbard and the CTI All Stars, several albums by Count Basie,  the obligatory Breezin' by George Benson, and some things that haven't aged all that well by Chuck Mangione and Earl Klugh, things I no longer like.  From the time I was 8-18 years old I was a serious hard bop snob, and thanks to teachers in high school who were my mentors, they got me into Pat Metheny, Michael Brecker and others. I saw Brecker when I was 7 years old along with the Chick Corea Elektric Band on the same bill.  I didn't really get hardcore into Brecker though until my late teens when I wanted more adventurous stuff.   Metheny was my gateway to free jazz, and the many treasures on ECM.  Why all the background info?  I want to show I have a wide taste in order to discuss the main topic of this article.  Jazz fans preventing new people from getting into the music because of general snobbery.  In particular a bizarre uproar over saxophonist Grace Kelly on an internet jazz forum.

For the past 15 years I've been a regular poster on the Organissimo forums. Organissimo is a Michigan based organ trio headed by keyboardist Jim Alfredson, and they've always aimed to go beyond just the typical organ combo fare that is mostly lots of blues in F, bebop, a funk tune and some standards.  In 2003, a forum section of their website was created for expatriates of the Blue Note records forum which was taken down that same year, and I had been a part of that since the late 90's.  The majority of Organissimo posters are middle and older aged men who are primarily into classic jazz, basically the bebop era of the forties extending into the modal jazz of the mid 1960's.  Hank Mobley, Lee Morgan, Bobby Hutcherson, Grant Green (all favorites of mine, too) are long time heroes there, and there are always inquiries about what is referred to as the “train wreck” session by tenor saxophonist Tyrone Washington recorded in 1968.  Mosaic Records co founder and former Blue Note reissue guru Michael Cuscuna has unequivocally stated it's never coming out, by the way.  There are a few posters who are free jazz devotees, those who love ECM and various strains of European jazz, but largely what goes on the scene today, save for players who play bebop or hard bop based jazz are ignored.  A month ago a discussion was broached about alto saxophonist Grace Kelly, and as has happened so often there in the past, all hell broke loose.

Kelly has been on the scene for more than a decade, she first caught the attention of the jazz world as a 15 year old teenager where she performed with legends like Phil Woods and Frank Morgan.  In fact, some of her tone and phrasing heavily reflect the Woods influence, so that automatically gains her credibility as a “serious” jazzer right?  Wrong.   Not to the “O” crowd as we like to call it. Many forum posters chimed in that they never liked her playing and found it to be quite weak, and suggested that she may have gotten to where she's at due to marketing.  Some of that may be true, but she has paid her dues.  Something she's doing to increase the fan base and draw more people into jazz was causing many posters to go haywire:  she dances when she plays.  You know what? She's damn good at it and it's impressive, because her playing retains a high level.  Ms. Kelly has a Youtube channel where she has a series of videos playing saxophone to choreographed dance moves, some of them find her prancing along with fellow saxophonist Leo P. while other find her in a dance studio combining fancy ballet inspired footwork, and more popular dance forms while playing a bluesy etude.  Another video has her joined by a modern dance duo in an electronic music inspired fantasia.  All these things are ultimately great for drawing in new fans, the latter video has 18,000 views!  

It's important to remember that jazz has a rich history as a dance music, beyond just the swing era.  One of my very best friends, an excellent tenor saxophonist who is a veteran of the free jazz scene reminded me of how much Grace Kelly is adding to a long standing tradition.  One of his earliest on the bandstand apprenticeships was with alto sax free jazzer Luther Thomas,  one of the biggest names in that genre.  Thomas was into dancing, wildly swinging his horn, devising choreographed little steps, all things that have roots not only in R&B, but the swing era.  Daniel Carter, another free jazz icon also moves quite expressively and let's not forget Sonny Rollins.  John Coltrane's immortal “Chasin' The Trane” from his watershed November 1961 engagement at the Village Vanguard captured on The Complete 1961 Village Vanguard Recordings (Impulse! 1998) was so named because Rudy Van Gelder, the late, great pioneering recording engineer, was following Trane as he was testifying from his horn walking to and fro .  Coltrane was a veteran of the R&B bar walking scene, and many of his performances reflect that influence. Thelonious Monk got up and danced while Charlie Rouse soloed, Charlie Parker played standing stone still as trumpeter Dizzy Gillespie (always  an entertainer, coming from the Cab Calloway school) shouted and danced.  Jimmy Smith would often lean down and rest his chin on the organ keys, holding notes for an indeterminable amount of time, in another display of showmanship.  So none of what Grace Kelly is doing is out of the ordinary in jazz's rich history, it's all a matter of perspective.  Some folks like their musicians to stand fairly motionless like  Miles Davis soloing, then walk off the stage to give the others time to shine.  Others like musicians to have a great time, like Freddie Hubbard's (1938-2008) funny odd two step while other band mates solo.

The Organissimo forum is not the majority of jazz fans, it's an esoteric niche that just seems bigger because it's on the internet, and that demographic is not the one she is targeting.  She is not necessarily bringing hardcore jazz fans to the music either, maybe people who just like what she's doing and that's only a good thing.  In percussionist, R&B smash artist and producer Mtume's famous debate with critic Stanley Crouch,  Mr. Crouch insists music from the electric period of Miles Davis is woefully dated.  Mtume's curt reply is so witty: the generations of people who gravitated towards albums like On The Corner (Columbia, 1972) and Get Up With It (Columbia, 1974) are not jazz fans, but fans of other music who got what Davis was trying to say, and it guided them to jazz.  In much the same way Ms. Kelly is achieving the similar outcome, in my estimation.  Only a few will become rabid jazz fans, but through Kelly they will explore all the greats, eras and deep history, so why would old guard folks at an internet forum be upset? It's a win win. I believe it's the simple fact the saxophonist is drawing upon things that are used to market in the pop world, and with jazz's reputation as a musty museum music for much of the general public, for jazz fans it's bringing up a skeleton.  For years the music has struggled with keeping things strictly in the tradition while embracing contemporary trends in the marketing.  For the music to survive, ultimately this is necessary to adapt to contemporary trends.

I've seen many new posters never return to that board because of negativity they experience for their tastes.  Basic album recommendation threads devolve into demonstrations of minutiae  a casual fan has no clue about.  A Dallas based tenor saxophonist made probably the most sensible point in the entire 7 page thread on Kelly when he pointed out that although he doesn't care for her music, he more than applauded her dancing while playing, and hoped more people start doing that because it would create a whole new avenue for dancers to be integrated into the music.  Robert Glasper and Kamasi Washington, names that many young music fans know, are unfairly targeted on that board as well.  Those rampant dismissals prevent new fan bases from being created.  Why is jazz dead for many?  Because of a constant regurgitation of the past with little tolerance for what's going on now. The reason I'm so passionate about the issue is because when I was 18, I was in that camp, overly clamoring for bebop and hard bop to be the ultimate styles.

At that time I missed a lot of cutting edge stuff from the likes of Jason Moran and Greg Osby. I opened my ears, grew and today I keep my ear open to the micro innovations of musicians like Glasper, Chris Dave, Mark Giuliana, and fresh hip things happening from the likes of Bobby Previte, Wadada Leo Smith, Vijay Iyer, Hiromi, Roscoe Mitchell, Ben Monder, Steve Tibetts, Krisjan Randalu, Ayumi Ishito, Steve Coleman, Linda May Han Oh, Terence Blanchard, Thana Alexa, Satoko Fujii and so many others. Grace Kelly, keep on dancing, ignore the haters-- what you do is really fresh, intriguing and brings new blood to this music.

See the original thread below: http://www.organissimo.org/forum/index.php?/topic/81704-grace-kelly/&page=1

https://youtu.be/VMYNLwlepRM

https://youtu.be/5coo3HaUA8Y

https://youtu.be/5N7ATjmywL0