Ontmeta000000. Test page
Given ANY definition of interaction when a jazz musician is playing jazz by themselves all alone is this musician interacting jazzwise with him or herself? I bet the answer can be yes it is possible.
If the definition of interaction requires two different items that are mutually influencing each other and without the other item then the resulting output would have been different if the one item had done all of the musical output without the inout from the other item. Then, on any definition of interaction that requires mutually influential causality with each interacting entity producing an effect in the other and the subsequent overall musical product, i.e., the music being played, is now different than the music would have been without the other entity being causally involved.
Now it is easy to prove that a single human female musician necessarily interacts with herself while playing jazz. All that is needed for the proof is to find the two entities that causally interact and influence each other where these two entities are distinctive components in themselves, and even this last might not be necessary.
two interacting entities in one mind are the conscious and the unconscious. If one had no conscious mind input the unconscious minds music would be very different in what it causally would produce. Conversely, if the unconscious mind is involved in music making, which it unquestionably us because of the complexity of the operation and the need to have a lot if processing being done unconsciously or without the need for conscious attention, simply put it is at least what is known as muscle memory.
INSERT STORY OF PAUL MOTION who couldn't notice all that he was doing and also jeep doing it. 4 rhythms at a time with feet hand cymbals and i puked 4th beat.
Any musician then would have this interaction, and it is not unique to jazz since any musician in any genre has this kind of interaction.
Therefore, we now require two persons and no sub-entities interacting within one person
“He thought a jazz rhythm section’s primary obligation was to support a soloist with an inspiring, idiomatically appropriate musical environment—“we’ve got to raise our hands and uplift them to the sky” (Lyons 1983, 124); “when everything is cooking, the rhythm section is cohesive, everything is smooth, ... it’s like you’re sailing, floating around in space, there’s not no real effort to anything” (Gleason 2016, 221). But still, the role of ensemble interaction, to this end, is hardly clear; within the transcribed trumpet chorus from “Doxy” there are few obvious, specific instances of responsorial rhythmic or melodic exchange. Silver’s own piano solo later in the same performance (Example 2) likewise evinces fairly little, if any, readily identifiable motivic interaction between pianist, bassist, and drummer.”
➢ To what extent are these musicians interacting in these descriptions?
The author seems inclined to conclude that the rhythm section is not interacting 'that much' because the three rhythm section players do not change much what they are doing in response to the soloist. He seems to miss that the three rhythm players are having plenty of interaction amongst themselves because they are staying together in the groove and this requires/demands mutual interactivity and mutual listening.
Many times you do not want the rhythm section to respond to what the soloist is doing such as the drummer told the bass player not to follow Charlie Parker whenhe speeds up the time. A i think he was double timing it but the rhythm section should maintain its pace. The drummer would yell, "Don't follow him" and e entually Bird would re-alight back into the non-doubled time that had been maintained by the rhythm section.
|🎷 🎺 🎻 🎸 🥁 🎺 🎤 🎙 🎹 🛁a||🎷 🎺 🎻 🎸 🥁 🎺 🎤 🎙 🎹 🛁a||🎷 🎺 🎻 🎸 🥁 🎺 🎤 🎙 🎹 🛁a|
|Dizzy Gillespie||1919-1999||trumpet 🎺|
Table of jazz legends notable achievements 1890-1980
|Name & Pictures||
Old School jazz pioneer
| pioneer in Ragtime and Jazz |
known as King Bolden
| pivotal figure in early jazz |
“combined ragtime, French quadrilles and the hot Blues played by Buddy Bolden”
- For musical examples see:
‣ "Essential Solos: 40 Great Improvisations: (100) Jazz artists and critics pick their favorite solos from the music's past and present," Jazz Times, November 2, 2017.
‣ "Perfect Jazz Recordings," Richard Brody, The New Yorker, September 23, 2014.
- Ted Gioia, The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, p. 33.
- Ted Gioia goes so far as to call Bolden “the elusive father of jazz” and “often cited as the first jazz musician” in The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, pp. 33-34.
- Ted Gioia, The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, p. 34.
- "Arts: Yoshi’s Honors Memory of Jazz Legend Clifford Brown," Ira Steingroot, The Berkeley Daily Planet, Special to the Planet, October 21, 2005.
- Wikipedia: Buddy Bolden confirms his notable accomplishments under the sub-heading "Musical career and early decline":
“ . . . known as King Bolden, his band was popular in New Orleans (the city of his birth) from about 1900 until 1907, when he was incapacitated by schizophrenia (then called dementia praecox). Bolden was known for his loud sound and improvisation. He made a big impression on younger musicians.”
- See these further biographies and discographies:
‣ Ferdinand "Jelly Roll Morton" Lamothe
‣ Doctor Jazz's Jelly Roll Morton website
‣ Doctor Jazz's Jelly Roll late news and references
- "Jazz Milestones: Noteworthy Dates in the History of Jazz Music (1895 - 1977), entry under 1902: at APassion4Jazz.com.
- "'King Porter's Stomp' and the Jazz Tradition," Jeffrey Magee, Current Musicology, "Special Issue - Jazz Studies," at Jazz Studies Online.