Playing Changes: Jazz for the New Century
Tags: #music #jazz #history #culture #innovation #globalization
Authors: Nate Chinen
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Overview
In “Playing Changes: Jazz for the New Century,” I trace the evolution of jazz in the 21st century, arguing that the music has entered a period of remarkable creative ferment, characterized by a blurring of genre boundaries, an increasing emphasis on individual expression, and a growing awareness of the music’s global reach. This book challenges the notion that jazz is a static or narrowly defined art form, arguing instead that it has always been a music of innovation and adaptation. I explore the impact of social, cultural, and technological shifts on the music, examining how artists have responded to these changes in their own work. The book is intended for a broad audience, including jazz fans, musicians, and anyone interested in the evolution of American music. Through a series of interconnected narratives, I examine the careers of key artists who have helped to shape the sound of 21st century jazz, exploring their stylistic innovations, their collaborative partnerships, and their approaches to mentorship. The book examines a wide range of stylistic approaches, from the neoclassical leanings of Wynton Marsalis to the avant-garde experiments of John Zorn, from the hip-hop infused sounds of Robert Glasper to the globally minded visions of Danilo Pérez. My argument is that these seemingly disparate approaches are all part of a larger continuum, reflecting the music’s inherent dynamism and its ability to encompass a wide range of creative impulses. “Playing Changes” ultimately presents a hopeful vision of jazz’s future, arguing that the music is as vital and relevant as ever, and that its capacity for growth and change is boundless.
Book Outline
1. Change of the Guard
This chapter sets the stage for understanding the state of jazz in the 21st century by examining the anxiety around the music’s relevance that took hold in the 1960s and ’70s. This anxiety stemmed from the rise of rock and roll, which dominated youth culture, and the emergence of avant-garde jazz, which challenged traditional forms. The quest to ‘save jazz’ emerged during this period, as did a tendency to view the music as a precious historical relic rather than a living, evolving art form. Kamasi Washington’s rise to prominence in the 2010s is presented as a potential antidote to this narrative, though his embrace by the mainstream is shown to be a complex phenomenon.
Key concept: Jazz won a Pyrrhic victory when it secured highbrow stature as “the quintessential American art form.” There had been unintended consequences, repercussions in the culture.
2. From This Moment On
This chapter explores the emergence of pianist Brad Mehldau as a key figure in the development of a new jazz language in the 1990s. Mehldau’s style, characterized by its complex harmonies, rhythmic fluidity, and introspective tone, offered a compelling alternative to the neoclassical approach that had come to dominate the mainstream. Mehldau’s penchant for incorporating elements of rock and classical music into his repertoire further challenged conventional notions of what constituted jazz. His influence on a younger generation of jazz pianists is explored through examples like the Bad Plus, a trio whose eclectic approach to repertoire and performance reflected Mehldau’s impact.
Key concept: “Brad’s appearance on the scene was really significant to me, because I just recognized immediately so many of the ideals that I aspire to myself, rendered in a way that was unbelievably refreshing.”
3. Uptown Downtown
The institutionalization of jazz, particularly through the establishment of Jazz at Lincoln Center under the artistic direction of Wynton Marsalis, is the focus of this chapter. Marsalis’s emphasis on traditional jazz values and his advocacy for the music’s inclusion in the realm of high culture are examined. The chapter also explores the emergence of alternative spaces for jazz, like the Knitting Factory, which provided a platform for experimental and avant-garde artists like John Zorn and Tim Berne. The so-called Jazz Wars, which framed this dynamic as an oppositional standoff between uptown and downtown aesthetics, are shown to be a somewhat reductive narrative. The career of trumpeter Dave Douglas is presented as an example of an artist who navigated both sides of this perceived divide.
Key concept: “It is both a way of spontaneously composing music and a repertoire,” Taylor wrote, “which has resulted from the musical language developed by improvising artists. Though it is often fun to play, jazz is very serious music.”
4. Play the Mountain
This chapter delves into the singular vision of alto saxophonist Steve Coleman, a highly influential figure whose music has expanded the harmonic, rhythmic, and conceptual boundaries of jazz. Coleman’s approach, informed by a diverse array of influences including West African music, South Asian rhythms, and numerology, is explored through a close examination of his music with Five Elements, his flagship band. The chapter also traces Coleman’s influence on a younger generation of jazz musicians, many of whom came up playing in his bands before establishing their own careers.
Key concept: “I wanted to be able to look at a mountain and play the mountain.
5. The New Elders
This chapter examines the impact of jazz elders on the music’s continued evolution. The example of Wayne Shorter, who formed a groundbreaking quartet with pianist Danilo Pérez, bassist John Patitucci, and drummer Brian Blade, is presented as a model for mentorship in the 21st century. Shorter, an alumnus of Miles Davis’s mid-1960s quintet, encouraged his younger bandmates to embrace a process of open-ended exploration, rather than adhering to a fixed set of musical rules or traditions. The chapter also explores the lasting influence of other important jazz elders, like Keith Jarrett and Paul Motian, who continued to push boundaries and inspire new generations of musicians.
Key concept: “Miles never said much about our playing. He just wasn’t the kind of leader who gave notes or made suggestions unless we asked him to. Even then, he usually responded with cryptic comments, almost like little puzzles we had to solve.
6. Gangsterism on a Loop
This chapter explores pianist Jason Moran’s career as an example of an artist who draws inspiration from a wide range of sources, including visual art, history, and hip-hop. Moran’s project STAGED, a multimedia installation that explored the historical significance of iconic jazz clubs, is presented as a key example of his interdisciplinary approach. The chapter also traces the development of Moran’s signature band, the Bandwagon, and their ability to blend diverse musical influences into a cohesive and compelling whole. Moran’s work as the artistic director for jazz at the Kennedy Center is also examined, highlighting his commitment to expanding the boundaries of jazz programming.
Key concept: “I saw the photograph of Max with those grommets behind him,” Moran said, “and I just stared at it. What is this corner? What is this fucking corner?”
7. Learning Jazz
This chapter examines the role of jazz education in shaping the music’s development, with a particular focus on The Real Book, a collection of illegally transcribed lead sheets that became a ubiquitous resource for jazz musicians. The book’s impact on the standardization of harmonic language and repertoire is explored, as well as its limitations. The chapter also traces the rise of jazz education in institutions, from early summer camps to the increasing prominence of university jazz programs. The impact of these developments on the proficiency and stylistic fluency of younger generations of jazz musicians is discussed.
Key concept: “This was a fertile period where suddenly there were many young musicians who felt very comfortable with a vast array of harmonic vocabularies (from standards to Joe Henderson and beyond) and were at home with modern rhythmic styles as well as even things that looked to the rock music of the time as sources of material.
8. Infiltrate and Ambush
This chapter returns to the theme of genre boundaries, exploring the career of pianist Vijay Iyer as an example of an artist who has bridged the worlds of jazz, contemporary classical music, and avant-garde improvisation. Iyer’s early experiences with racial and cultural othering are explored, as is the impact of these experiences on his musical development. The chapter traces Iyer’s rise to prominence, culminating in his appointment to the Harvard faculty and his receipt of a MacArthur Fellowship in 2013. His work with the trio Fieldwork, featuring saxophonist Steve Lehman and drummer Tyshawn Sorey, is presented as a key example of his commitment to pushing the boundaries of jazz.
Key concept: “It’s an overwhelmingly white audience, and wealthy,” he had told Rolling Stone India a few weeks before load-in. “So this is a chance to infiltrate and ambush into that space with a lot of different ideas and different perspectives on music that they may not have been aware of or willing to pay attention to.”
9. Changing Sames
This chapter explores the influence of hip-hop, particularly the production style of J Dilla, on the development of a new rhythm science in jazz. Dilla’s approach to sampling, which sought to radically transform rather than simply appropriate existing musical material, is examined, as is his preference for organic grooves with a human feel over quantized rhythms. The chapter traces Dilla’s influence through the music of artists like Robert Glasper, Roy Hargrove, and Karriem Riggins, all of whom incorporated elements of his style into their own music.
Key concept: “Each of the principal musicians on Voodoo traces this revolution in rhythm back to J Dilla.
10. Exposures
This chapter explores the career of bassist, singer, and composer Esperanza Spalding, highlighting her ability to move between the worlds of jazz, pop, and classical music with remarkable fluency. Spalding’s early success, including her surprise win for Best New Artist at the 2011 Grammy Awards, is examined, as is her subsequent embrace by the mainstream media. The chapter also examines Spalding’s commitment to exploring new creative avenues, from her chamber music project Chamber Music Society to her funk-inflected album Radio Music Society and her Afrofuturist project Emily’s D+Evolution.
Key concept: “I don’t notice that you’re bracing. You don’t notice that you’re sending the verbal, behavioral (and so many other -ials) message: “I am not accessible to you, in any way, except for the music.
11. The Crossroads
This chapter focuses on the increasingly globalized nature of jazz in the 21st century, exploring the work of musicians from a range of cultural backgrounds. The example of the International Jazz Day All-Star Global Concert, held in Havana, Cuba, in 2017, is presented as a microcosm of this phenomenon. The chapter also examines the influence of American jazz on the development of the music in other parts of the world, as well as the emergence of vibrant jazz scenes in cities like Beijing, London, and Havana.
Key concept: “Perhaps no other music is called upon to represent diaspora as often as jazz,”
12. Style Against Style
This chapter focuses on the career of guitarist Mary Halvorson, a leading figure in the avant-garde jazz scene, as an example of an artist who embodies a spirit of restless creative exploration. Halvorson’s early influences, her development as a musician, and her collaborations with a diverse range of artists are explored. The chapter also examines the impact of her work on the jazz guitar tradition, and her role in expanding the instrument’s sonic and expressive possibilities. The chapter concludes with an exploration of how Halvorson’s individual style reflects the larger trend of stylistic diversification and hybridization in contemporary jazz, a trend that challenges traditional notions of genre boundaries and opens up new creative avenues.
Key concept: “Just as the use of the English language in the global context does not always mirror the vocabulary and rules of grammar and syntax and the way English is spoken in Britain or America, there are jazz styles that have evolved outside the United States that do not necessarily follow the way that jazz is played inside the United States.
Essential Questions
1. Does jazz need saving in the 21st century?
The quest to “save jazz” has been a recurring theme throughout the music’s history, often driven by anxieties around its perceived decline in popularity or its deviation from perceived norms. This question explores the validity of this narrative in the 21st century, examining the factors that have contributed to the music’s continued evolution and its ability to find new audiences. The book challenges the notion that jazz needs saving, arguing instead that it is a thriving and dynamic art form.
2. How have musicians who came of age after the ‘Young Lions’ era reshaped the jazz landscape?
This question explores the impact of musicians who came up in the shadow of the neoclassical jazz movement of the 1980s and ’90s. The book examines how artists like Brad Mehldau, Steve Coleman, and Jason Moran navigated the expectations and limitations of the jazz establishment, forging their own paths and expanding the music’s stylistic and conceptual boundaries.
3. How are contemporary jazz musicians engaging with issues of race, identity, and social justice?
Jazz has long been a site of cultural and political debate, particularly in its relationship to race, identity, and social justice. This question explores how artists like Vijay Iyer, Esperanza Spalding, and Christian Scott have addressed these themes in their music, and how their work reflects the ongoing dialogue around social and artistic othering. The book argues that a new generation of jazz musicians is engaging with these issues in nuanced and provocative ways, pushing the music beyond the limitations of traditional genre boundaries.
4. What is the role of institutions and education in shaping the future of jazz?
This question delves into the impact of institutions and educational programs on the development of jazz in the 21st century. The book examines the role of institutions like Jazz at Lincoln Center, the Knitting Factory, and various university jazz programs in shaping the music’s trajectory. It also explores the impact of the Internet and the increasing accessibility of information on the development of younger generations of jazz musicians.
5. How is jazz evolving as a global music in the 21st century?
This question explores the global reach of jazz in the 21st century, examining the work of musicians from a range of cultural backgrounds who are pushing the music beyond the limits of a national or regional style. The book argues that jazz has become a truly global music, one that embraces a diversity of dialects and syntaxes, while still retaining its core essence. The emergence of vibrant jazz scenes in cities like Beijing and London is explored, highlighting the music’s ability to transcend geographical boundaries and cultural differences.
Key Takeaways
1. Jazz is a constantly evolving music with a wide range of influences.
The book demonstrates that jazz is not a monolithic or static genre, but rather a constantly evolving music with multiple intersecting lineages and influences. Jazz artists in the 21st century draw inspiration from a wide range of sources, from traditional jazz masters to contemporary pop and electronic music, and their work reflects this stylistic diversity.
Practical Application:
An AI product engineer working on a music recommendation algorithm could leverage this understanding of stylistic evolution to create more nuanced and personalized recommendations. By analyzing the stylistic lineages of different artists and identifying key influences, the algorithm could recommend music that expands a user’s taste horizons while still staying within a recognizable framework.
2. Mentorship and collaboration are essential to the creative process in jazz.
The book emphasizes the importance of mentorship and collaboration in the development of jazz artists, highlighting the role of elder statesmen like Wayne Shorter, Herbie Hancock, and Paul Motian in nurturing younger generations of musicians. These mentorships often involve not just the transmission of technical skills, but also the fostering of an open-minded and exploratory approach to music-making.
Practical Application:
In developing AI systems for music composition or improvisation, it’s crucial to consider the role of mentorship and collaboration in the creative process. AI systems could be designed to facilitate these interactions, providing a platform for musicians to connect with mentors, share ideas, and learn from one another.
3. Jazz is becoming a truly global music.
The book highlights the increasing globalization of jazz, with artists from a range of cultural backgrounds contributing to the music’s continued evolution. Jazz is no longer solely an American music, but rather a global language spoken in a variety of dialects and syntaxes.
Practical Application:
AI developers could use this understanding to create tools that help musicians overcome geographical barriers and connect with collaborators from around the world. For example, an AI-powered platform could facilitate remote jam sessions, allowing musicians from different countries to play together in real time.
4. Jazz musicians are facing new challenges in reaching a wider audience.
The book explores the challenges that jazz artists face in reaching a wider audience, particularly in an era of fragmented media consumption and a decline in traditional jazz infrastructure. It highlights the need for artists to develop innovative strategies for connecting with listeners, both online and offline.
Practical Application:
AI product engineers could develop systems that help artists find and connect with audiences who are receptive to their specific creative vision. This could involve analyzing listening data to identify potential fans, or creating personalized marketing campaigns that target specific demographics.
5. Genre boundaries are becoming increasingly fluid in contemporary jazz.
The book challenges the notion of rigid genre boundaries in jazz, arguing that the music has always been characterized by stylistic hybridity and a willingness to embrace new ideas. Contemporary jazz artists often draw inspiration from a wide range of sources, blurring the lines between jazz, hip-hop, electronic music, and other genres.
Practical Application:
In developing AI systems for music analysis, it’s crucial to avoid rigid genre boundaries and allow for a diversity of stylistic approaches. AI systems could be trained on a wide range of musical data, allowing them to recognize and appreciate the nuances of different styles, from traditional jazz to contemporary fusion.
Suggested Deep Dive
Chapter: Changing Sames
This chapter dives into the impact of hip-hop production techniques, specifically the work of J Dilla, on jazz. This intersection highlights the permeability of genre in the 21st century and offers fertile ground for exploring how AI might analyze and bridge musical styles.
Memorable Quotes
Introduction. 8
The emergence of a jazz artist as audacious, unconflicted, and grounded as Salvant, at this stage in the game, suggests both the fulfillment of a promise and the rejection of an idea.
Change of the Guard. 14
All of which set the stage for Washington’s emergence as a great new hope for the music. Whether he was qualified for such a task was beside the point. There’s a powerful insecurity built into any call for a jazz savior: the very idea presupposes a vital deficiency in the art form.
From This Moment On. 43
Like so much about Mehldau’s career, “It Might As Well Be Spring” proposes a personal realignment of the jazz-piano continuum, a mode of playing rooted in the postbop tradition but reaching in earnest toward an identifiable new dialect.
Play the Mountain. 90
I wanted to be able to look at a mountain and play the mountain.”
Changing Sames. 186
The Jay Dee methodology was first articulated on a debut album by the hip-hop group Slum Village, Fan-Tas-Tic Vol 1, unofficially released in 1997.
Comparative Analysis
While “Playing Changes” is a uniquely focused look at the evolution of jazz in the 21st century, it shares common ground with other prominent jazz histories, like Gary Giddins and Scott DeVeaux’s “Jazz” and Ted Gioia’s “The History of Jazz.” Like those authors, I’m interested in presenting jazz as a dynamic art form, one that defies easy categorization. Where my book diverges is in its emphasis on the present moment, and the forces shaping the music’s development in real-time. Unlike Gioia’s encyclopedic overview or Giddins and DeVeaux’s comprehensive historical survey, my book is a collection of interconnected narratives, each focused on a key artist or trend. I also engage more directly with contemporary debates around jazz, such as the so-called Jazz Wars, the influence of hip-hop, and the role of institutions like Jazz at Lincoln Center. In doing so, I aim to provide a nuanced and critical perspective on the state of the art, one that avoids the pitfalls of both nostalgic traditionalism and uncritical boosterism.
Reflection
Playing Changes” offers a compelling and nuanced perspective on the evolution of jazz in the 21st century. The book’s strength lies in its detailed, character-driven narratives that reveal the complex forces shaping the music’s trajectory. I strive to avoid oversimplification, recognizing that the quest to define “real jazz” is often a fool’s errand. While I highlight the importance of individual expression and creative innovation, it’s crucial to acknowledge the influence of commercial forces and audience tastes in shaping the music’s evolution. While the narrative arc of the book leans towards optimism, a skeptical reader might question the sustainability of some of the trends highlighted, especially those reliant on institutional support or the vagaries of popular culture. Nevertheless, the book’s central argument - that jazz is a dynamic and resilient art form with a boundless capacity for growth and change - remains convincing. The book’s greatest contribution is in illuminating the vibrant and diverse community of artists who are carrying the music forward into the 21st century and beyond.
Flashcards
What is the definition of M-Base?
A system of creative expression rooted in improvisation within a form, striving toward the goal of transmuting human experience into sound
What is the defining characteristic of J Dilla’s production style?
The practice of radically transforming existing musical source material, rather than simply appropriating it, in sample-based music production.
What is neo soul?
A style of jazz that emerged in the late 1990s, characterized by its blend of jazz, hip-hop, and R&B influences.
What is the Knitting Factory?
A jazz club in New York City that became a hub for avant-garde and experimental jazz in the 1980s and ’90s
What is The Real Book?
A collection of illegally transcribed lead sheets that became an essential resource for jazz musicians in the late 20th century.
What is the Ojai Music Festival?
An annual jazz festival in Ojai, California, known for its adventurous programming and its emphasis on contemporary classical music and experimental jazz.