Ontdef4. Unhelpful definitions of jazz
Many people have said things about jazz that often are somewhat true, but essentially entirely unhelpful as any sort of definition of jazz. The reasons why these suggestions for a definition are typically unhelpful is that the proposed definition does not end up picking out all and only jazz performances.
Here is a survey of such failed attempts or unhelpful proposals for a definition together with reasons why such proposals fail as a definition of jazz. Many pictures below are taken from A Passion For Jazz.
Jazz is Rhythm
- Henri Matisse - "Jazz is rhythm and meaning."
- Jazz does emphasize the importance of rhythm through its significant use of syncopation. The New World Encyclopedia defines syncopation and then points out its usage by practically all other forms of music in addition to jazz's usage thereby making this possible definition of jazz too broad because it includes non-jazz music within its scope.
In music, syncopation is a stress on a normally unstressed beat, or a missing beat where a stressed one would normally be expected. Syncopation is used in many musical styles, including classical music, but it is fundamental in such styles as reggae, ragtime, rap, jump blues, jazz and often in dubstep. In the form of a back beat, syncopation is used in virtually all contemporary popular music.
The reason why syncopation is found in so many other styles of music besides jazz is also obvious. Syncopation adds interest and rhythmic complexity to whatever style of music making one performs:
This rhythmic surprise has a dual purpose. There is a purpose related just to the art of the development of syncopation, and there is a greater purpose that syncopation serves to the entire piece. The rhythmic surprise of syncopation not only serves the interests of the changes of accent when a weak beat is stressed but also the larger purpose of the composition for its rhythmic complexities and contributes towards the totality of the piece.
Jazz is Improvisation
- Brian McKnight - "Jazz is about improvisation & the moment in time, doing it this way now & you'll never do it this way twice."
Jazz is Constantly Changing
- Pat Metheny - "It is jazz's very nature to change, to develop and adapt to the circumstances of its environment."
- Pat Metheny - "I don't worry too much about the fundamentalist principles that are in almost any discussion about Jazz."
Jazz is About Emotions
- Charles Mingus - "Jazz music is a language of the emotions."
Jazz Is Known Without Definition
- Thelonious Monk - "I don't have a definition of jazz. You're just supposed to know it when you hear it."
- Yogi Berra - "Anyone who understands Jazz knows that you can't understand it. It's too complicated. That's what's so simple about it."
- Kurt Elling - "Jazz singing is like pornography. You can't say what it is, but you know it when you see it."
- Can we say what jazz singing consists in? Of course you can start to describe what a vast majority of actual jazz singers do vocally when performing jazz singing.
- Does this reveal what is true of all and only jazz singing? It would appear preposterous to claim that it would. Other non-jazz singers at different times and in different contexts likely use and do whatever would be contained in that description of the original majority of jazz singers that had been sampled.
- Van Morrison - "The point of jazz is, you do something and then you go on."
Jazz is a Feeling
- Ray Brown - "Jazz is a complete lifestyle, something that you feel, something that you live."
- Jazz may well be a complete lifestyle, up to a point. It is doubtful that when people are doing ordinary chores, like eating and sleeping, that these life activities necessarily relate to jazz. Of course, this is not really the point Ray Brown means to be making. His point is that a full commitment to jazz requires one to adopt the lifestyle of a working jazz musician and this is becoming highly immersed with the music. Humans feel many things, though, not just jazz. None of these remarks do anything for accounting for what jazz is like as a music itself.
- Bill Evans - “Words are the children of reason and, therefore, can't explain it. They really can't translate feeling because they're not part of it. That's why it bugs me when people try to analyze jazz as an intellectual theorem. It's not. It's feeling.”
- Bill Evans - “Actually, I'm not interested in Zen that much, as a philosophy, nor in joining any movements. I don't pretend to understand it. I just find it comforting. And very similar to jazz. Like jazz, you can't explain it to anyone without losing the experience. It's got to be experienced, because it's feeling, not words.”
- Bill Evans - “It’s performing without any really set basis for the lines and the content as such emotionally or, specifically, musically. And if you sit down and contemplate what you’re going to do, and take five hours to write five minutes of music, then it’s composed music. Therefore I would put it in the classical or serious, whatever you want to call it, written-music category. So there’s composed music and there’s jazz. And to me anybody that makes music using the process that we are using in Jazz, is playing Jazz.” (bold not author's)
So what is the (musical) process that is being used in jazz? Any answer to this question will include improvisation, and also syncopation, incorporation of the blues and its pentatonic musical scale, and the synthesis of the European diatonic scale with that if the blues's pentatonic scale. Unfortunately, all of these musical features can sometimes be found being used by a non-jazz blues player so Bill Evans suggestion is unhelpful for uniquely picking out all and only jazz music. Evans is close to saying a tautology: "Its jazz music if you are playing with jazz musical processes."
Jazz is Musical Humor
When the cornetist Bix Beiderbecke was asked in 1929 to define jazz, he replied, “Jazz is musical humor.” as quoted in "The Humor of Jazz," by Charles Hirosi Garrett, in Jazz/Not Jazz: The Music and Its Boundaries, edited by Ake David, Garrett Charles Hiroshi, and Goldmark Daniel, Ch. 3, pp. 49-69, University of California Press, 2012.
While it is undoubted true that a musician can take a lighthearted attitude while playing jazz and even insert some comedic effects while playing (such as growling on the trombone), or even insert quotes of other music into parts of a song for a musically humorous effect (Charlie Parker liked to play snippets that referred to what was going on in a room at the time), it just is not believeable that all jazz all of the time must strive to be humorous. Humor is producing results that have the quality of being amusing or comic. It is simply false that all of jazz is continually amusing or comedic. Some jazz is pretty, some ugly, some abrasive, some of high energy, and so on. These types are generally neither amusing nor comedic, yet each is still jazz.
It isn't even clear what music would have to be like such that it could achieve the goal of constant musical humor.
If Robert Kraut is correct that music is neutral with respect to expressive properties, then this sort of definition of jazz as expressing musical humor would be impossible. He writes in "Cause vs. Content: Semantic Considerations on the Blues," that:
There are challenges to the very idea of artistic expression. It is not clear that bridges, musical compositions or performances, paintings, or other artistic artifacts have emotional/expressive properties—or, if they do, precisely what such properties are like, what it is to have them, or how—for any given artwork or performance--we come to know what they are."
Jazz is Freedom
- Dave Brubeck - "Jazz stands for freedom."
- Invited Symposium: Crossroads: Philosophy and the Blues, APA Pacific Division Meetings, San Francisco, March 2013.