Comments on: Working Title

By: Karl Walters

Karl Walters — Wed, 18 Jun 2008 21:35:09 +0000

In response to peter breslin’s comment:

“This is a fascinating point of view, without one speck of Romanticism… It seems such a departure from the whole ?tortured artist? thing that seemed to infuse the 19th and 20th centuries.”

I think Peter is right. The old Romance Era attitude toward music is diminishing in predominance. I don’t think the artist, and especially not the musician, chooses to toil in torturous solitude anymore or holds that method as being superior to others. This has happened for a few different reasons, but I will only expound upon the one that is the most obvious: business.

The way musicians support themselves (ie the music business) has changed drastically since the turn of the century. With the decay of the old business model (ie label support), musicians can no longer rely on a benefactor to subsidize their tortured artistic ups and downs. In the past, a musician’s ultimate dream was to be “discovered” by label A&R who would take care of the “business” side of the “music business” , allowing them to do nothing but flog the golden goose until it popped out a hit. This is of course happened less frequently in the jazz world, and even less so in the out-music world. (Although let it be remembered that “The Shape of Jazz to Come” was released on Atlantic). The end of the “musical benefactor” has forced musicians to fend for themselves, often performing the duties that in the past would have been the job of a manager or label.
This new relationship to the business side of the “music business” has made many musicians re-imagine their music’s place in their lives and in the world at large. Music is perhaps seen more clearly by the musician as not only a transcendent expression of the soul, but as a commodity to be bought and sold.

By: David Grundy

David Grundy — Sat, 14 Jun 2008 14:15:34 +0000

Just one more thought: perhaps it’s the whole groove element that draws in fans from other genres (rock, primarily) and enables them to get into the otherwise overly forbidding (for them) free jazz sections. In that capacity, Vandermark’s music performs a useful “missionary” function – a free jazz evangelist! Maybe what he’s trying to do is just somewhat removed from what people expect of him, I don’t know.

By: David Grundy

David Grundy — Sat, 14 Jun 2008 14:13:26 +0000

I’ve just been watching some clips from this documentary on youtube: Vandermark is clearly a deep thinker about the structure and sound of the music. Perhaps it’s the almost rigid, more overtly composed sections and grooves that put some free jazz fans off: I can see how that would happen. There are occasions in some of his performances where I wish he would just go a bit further out, rather than, for example, playing over a walking bass and honking repeated patterns all the time. That said, there are also moments of great beauty in his music, and I suppose there is a certain zeitgeist quality, as he suggests in one of the youtube clips.

By: Brakhage

Brakhage — Fri, 13 Jun 2008 02:57:53 +0000

This is awesome. They’re playing tomorrow right by me so I dropped by here since I recalled when you put the track up initially. Thanks!

By: ledrew

ledrew — Thu, 12 Jun 2008 03:33:19 +0000

Hard to say, Anthony; perhaps folks expected one thing (romantic) and got another (real). Having seen it, though, I can say that if you are at all sympathetic to the general aesthetic on display here, and the specific thoughts and views re the musician’s life as described above, then I think you will find a lot to like.

By: Anthony

Anthony — Thu, 12 Jun 2008 02:47:36 +0000

Anyone know why the movie only gets ~2 stars on Netflix? I put it on my queue, but I’m curious if anyone saw it.

By: Betty

Betty — Wed, 11 Jun 2008 08:19:00 +0000

The photograph at the top of the post is fantastic. I fell into it for about ten minutes….A master piece in its own right.

By: centrifuge

centrifuge — Tue, 10 Jun 2008 14:16:44 +0000

i’m not sure i get your point, peter. are you asking me, or just putting the question out there generally..? are you saying that a committed artist is beyond criticism? (and who used the word “workmanlike”?)

By: peter breslin

peter breslin — Tue, 10 Jun 2008 05:12:56 +0000

I guess I’m asking something related to your comment, Centrifuge. Is “workmanlike” a compliment? I can feel the flames from some quarters already, but I mean it as a legitimate question. Where’s the fire, where’s the beef, where’s that old lovin’ feelin’? I don’t show up to work when I do a gig, I show up to a happening, an event, a ritual, an experience of some special significance. On the other hand, I don’t make a living playing, either.

By: centrifuge

centrifuge — Sun, 08 Jun 2008 13:05:27 +0000

i’ve got no doubt vandermark is committed and genuine about what he does – and he demonstraby has great energy and enthusiasm, which presumably makes him an inspiring player to work with… but although this track appearing at this time (i.e. when i’ve just made my mind up that i don’t find k.v. an interesting sax player to listen to, and have aired this view in a couple of places) offered me the chance to reassess things, it just confirms for me what i already thought. i didn’t hear anything in it which really worked for me or moved me or caught my attention or – you get the idea. around 5 mins vandermark worries a simple two-note riff again and again – doesn’t sound like the sort of thing which will go anywhere, and sure enough it doesn’t – nilssen-love gets sucked into it, is all, and the two of them just groove on it for the best part of a minute without generating any momentum at all. they do escape from it eventually, but only by breaking things up and starting again. *some* of v’s projects will doubtless continue to interest me, but in this sort of setting (nowhere to hide) i just don’t find him very effective.

By: peter breslin

peter breslin — Sat, 07 Jun 2008 03:54:41 +0000

Ken Vandermark’s comment:

“I feel that creativity is not a pastime, working to be an artist is a job of sorts, and Daniel has given people a glimpse of what it means to take on that responsibility.”

This is a fascinating point of view, without one speck of Romanticism. Many professional musicians, painters, writers, dancers, film makers of my friendship or acquaintance approach their creative lives with much this same attitude now. It seems such a departure from the whole “tortured artist” thing that seemed to infuse the 19th and 20th centuries. I wonder what others think?

By: Anne

Anne — Fri, 06 Jun 2008 22:09:44 +0000

Thanks for the extra track. It’s great :-)
I ordered the movie from amazon.com. I am located in Norway and i had no problems to play the DVD on my computers (both PC and Mac) and also on my regular DVD player (the one i bought years ago). IMO, the movie is very interesting, showing how things are for Ken, without trying to make it glamourous in any ways. It is indeed some hard work behind the scenes… I am thankfull to all the professional improvisers who are in the same situation. We as audience, just have to pay for the gig and sit down comfortably. What a priviledge :-)

By: John in England

John in England — Fri, 06 Jun 2008 19:28:48 +0000

Thanks for your input, Daniel.

By: yesss!

yesss! — Fri, 06 Jun 2008 18:06:50 +0000

the solo piece at the end of that film is just beautiful. really excellent stuff.

love the blog. thanks!

By: Daniel

Daniel — Fri, 06 Jun 2008 16:06:27 +0000

It is Region 0 (aka All Region). You should be fine ordering from anywhere.