Why we don’t like jazz
by Rev. Bob - Tuesday, August 31st, 2004 - 8:10 pmDyske Suematsu has an article in his blog on why Americans don’t like jazz that is, to say the least, provocative. His thesis (which I’ll only gloss over, go read it) is that we’re living in such a visual age that pure music leaves us with nothing to grab hold of — we’re constantly uncomfortable with instrumental music, like we’re wondering what to do with our hands.
I was given a very precious gift: the ability to recognize a song from its chords. Well, actually I gave myself that gift as I struggled to learn how to improvise over chord changes. It was sort of a side effect. If I come in in the middle of a jazz performance I listen for a while and then the lightbulb lights: oh! that’s “How High The Moon” (or whatever). There’s absolutely nothing unusual about that, except that it simply doesn’t occur to most folks to do it!
I’ve told the story before about having a friend over and playing Bill Holman’s arrangement of “Cherokee” for him. (It’s on Stan Kenton’s Contemporary Concepts album, and there’s a sound clip on its page at Amazon). That arrangement is unusual in that it starts right off with an improvisation, and never gets around to stating the melody. My friend, an excellent musician, simply couldn’t get that it was “Cherokee”. Was that because he was somehow lacking in musical ability? Not at all. It had never occurred to him to think of a song as a pattern of chords.
But there’s no reason at all why he (or anyone else) couldn’t think of a song that way, once someone had suggested the idea. A couple of months ago, we were talking in the car and Kelly and Robert were asking me about what jazz players do. They stayed interested enough that after we got home they sat through my playing a bunch of examples and showing them how to recognize a very simple song form: the 12-bar blues. After a little bit, they picked it up, and I think it stuck with them. And once you’ve got the 12-bar blues down, you just add songs. In fact, just knowing the 12-bar blues and “I Got Rhythm” can get you through a substantial portion of bebop.
And think of the enjoyment you can have from just recognizing that very basic thing in a song! In fact, if you couldn’t do that, I don’t know why you’d stay around for a jazz performance. You’d never know where they were in the song! Do you suppose people are sitting through jazz performances right now, hoping that if they sit there long enough, they’ll figure out the magic key that will unlock the mystery for them?
Maybe those of us who’ve spent the time to pick this stuff up need to pass it on to our friends, to introduce them to chord structures of songs and time signatures and other basics we take for granted. If Americans don’t like jazz because they can’t find a place to get a grip on it, then maybe we need to show them the handholds.
The Fat Junkie’s contribution to civilization will probably boil down to a few nasty phrases and portmanteau words, among them “feminazis”. Which is what makes this picture from 














