Jim contributes reviews of jazz CDs, reviews of live performances and extensive interviews to five magazines. By day, he's a system analyst in aerospace. Jazz journalism, however, is his one true passion. After 34 years of marriage, raising four children and now getting to know the grandchildren, he's got opinions. Visit his website: www.JimSantella.com
"An interpretation of 'How High the Moon,' for example, should introduce some quality that cannot be found elsewhere. The artists who participate must find their own voices. It's not about showing off, either … It must come from the deep within."
Aside from the teeny-tiny print on CD covers that we can't read without a magnifying glass, and the ever-present loud talkers who show up at many live performances and ignore the music all night long, there's not much wrong with jazz these days for most dedicated fans, listeners and collectors.
The New Year looks pretty bright. Our local FM radio station continues to bring us the best in mainstream jazz. Satellite radio offers an alternative that has also turned out pretty well. Television and motion picture scores continue to feature jazz on an as-needed basis. Our local record stores continue to stock the items that we want. With the loss of Tower Records, we've sought out other marketing venues. It hasn't been easy, of course, but we're still able to get our jazz recordings one way or another.
Live jazz continues to feature the best artists out there, and they get better every year. Schools are turning out interested parties, and veteran jazz artists are helping to develop future generations consistently. The big cities bring in some of the best jazz performances, and the larger festivals continue to offer a wide spectrum from the jazz umbrella. Our clubs continue to feature the real thing, while specific segments of the jazz world fit into certain venues.
Avant-garde jazz thrives in these times when the country is split down the middle between conservatives and liberals. That end of the spectrum has grown out a bit, with newer areas described as progressive, creative, or simply, new. The opposite end of the jazz spectrum, usually referred to as smooth jazz, continues to provide mood music for the masses and continues to attract large crowds at festivals. In between, we've still got all of our favorite jazz genres, including trad jazz, Latin jazz, Brazilian, Afro-Cuban, fusion, jazz/rock, contemporary jazz, straight-ahead jazz and many others. World music has infiltrated the jazz world and promises to expand that umbrella quite a bit over time.
Jazz's modern mainstream continues to grow. However, if anything is wrong with jazz these days, that one holds the sore spot. The modern mainstream is expected to grow every year and produce new ideas. This area contains a large part of yesterday's avant-garde. It should always uphold tradition while moving forward with original and unique ideas. An interpretation of "How High the Moon," for example should introduce some quality that cannot be found elsewhere. The artists who participate must find their own voices. It's not about showing off, either. The artists must bring their voices together cohesively and feel what they're doing strongly. It must come from the deep within.
Original compositions provide plenty of opportunities for growth. After all, there are many ways to express new and creative ideas through original music. At the same time, we're always able to include ties to jazz's tradition. Whether the modern mainstream jazz artist is reinterpreting a standard or expressing a new theme, it's still imperative that he or she does so with honest creative energy. It's got to be genuine, and it's got to show growth.
It's taken me all my life to learn what not to play.
– Dizzy Gillespie
Relative minor: A guitarist's girlfriend
