Well, not all musicians can be trailblazers all the time, and that said I have enjoyed listening to this album a whole lot. Court Jester Danny Kaye spoofs Robin Hood and Scaramouche in this inventive slapstick swashbuckler. It is elegant and conservative chamber jazz without edges. Especially when he plays a standard like ”There Will Never Be Another You” or his tribute to bassist and cellist Oscar Pettiford, ”Here’s to Oscar”. It is not that apparent when he plays by himself behind Simmons and Peterson, but it is when he plays musical interludes with his trio with pianist Donald Vega, and guitarist Russel Malone. Ron Carter is another kind of musician who works in the tradition from Miles Davis’ acoustic groups, he was a member of one of them, or the classic timeless elegance of the Modern Jazz Quartet. His forefathers, without pretending to high antiquity of family, had held the dignity of squires of Grassdale for some two centuries and Rowland Lester was. In that kind of brew, the words are hardly a strange element. Trumpeter Ambrose Akinmusire employed a rapper on his album Origami Harvest, and Art Ensemble of Chicago featured spoken word artist Moor Mother on their new album We Are on the Edge.īoth Ambrose Akinmusire and Art Ensemble of Chicago are experimental artist which combines spoken poetry or rap with strings, drums and horns. Jazz albums with lyrics with social commentary are becoming increasingly more common. His playing brings a wonderful dimension of timing and musical commentary to the poems. Ron Carter almost steals the show with his accompaniment where he finds just the right spots to play and the right things to play in them. Poet Liza Jessie Peterson is perhaps more effective on her poem about the role of the black rap artist, and her more biting poem about the Black lives matter movement. His poems have imagery of slave ships, Africa as a lost paradise, and suppression on the new continent, and even if they have an edge, he also uses the irony and routine of a stand-up comedian or a court jester using drastic pictures and effects. Simmons poems are a reaction against the beatnik literary scene in the 1950s where there were no black poets around, or they were made Invisible. When poet Danny Simmons reads his poems to the sole accompany of bassist Ron Carter it works very well. Carter seems to effortlessly find the rhythms in Simmons poems and even creates counterpoint to it. Trumpeter Greg Gisbert leads an impressive septet through a set of challenging material on this program. With this, the second volume of his analysis of youth cultures, jagodzinski establishes himself as a cultural theorist and critic of the first order."-Mark Bracher, founding editor, Psychoanalysis, Culture and Society.Ron Carter and Danny Simmons – The Brown Beatnik Tomes (Blue Note, 2019) For anyone who has been intrigued or baffled by the mesmerizing and transformative power of youth music, this book offers profound and dazzling insights. Now comes jan jagodzinski's remarkable Musical Fantasies of Youth Culture, revealing heretofore unrecognized forms, dimensions, levels, and folds of the significance this transgression has for subjectivity, sociality, politics, and ethics. It has long been a truism that rebellion is central to this music, but the deep and complex nature, the social and psychological roots, and the ethical, social, and political consequences of the transgressions this music embodies have remained obscure. "It is hard to think of a cultural phenomenon that is more emotionally compelling and socially significant, or less understood, than youth music and its attendant subcultures.
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