NYU Steinhardt Jazz Interview Series with Dr. David Schroeder interviews legendary guitarist, composer and bandleader John McLaughlin. December 5, 2016
[VIDEO] John McLaughlin, Chick Corea, Lenny White, Victor Wooten, at the Blue Note: ‘Miles Beyond’, December 19, 2016Posted: January 5, 2017
[VIDEO] ‘You Know, You Know’, John McLaughlin & Chick Corea at the Blue Note in NYC, December 8, 2016Posted: January 4, 2017
Unfortunate to hear a great artist lay out a thoughtful, passionate, lucid description of the problem– the decline of jazz in the U.S.–then offer a predictable, depressingly misguided solution: “make the government subsidize it!”
Did the Mahavishnu Orchestra depend on taxpayer subsidies? Did Miles Davis need a government check in order to flourish? Unthinkable. If music is dynamic and alive, people will beat down the doors to go see it. If it’s boring, people will ignore it.
What Is the Future of Jazz in New York? (punditfromanotherplanet.com)
Who Should Pay for the Arts? (city-journal.org)
If it’s waning, drained of its creative force, or is replaced by other artistic innovations, people will look elsewhere. Should it be put on life support? Kept alive artificially? Turned into a social program for talented but neglected musicians? There are technical revolutions, new media disruptions, that are still unfolding, that influences these outcomes, more than lectures about taste, or lowering standards just to get a gig.
The End of Jazz (punditfromanotherplanet.com)
Islam and American Jazz (punditfromanotherplanet.com)
He’s right, jazz one of America’s great original art forms. And he’s right that should be supported, not neglected. It’s part of our history. (though what kind of future it has, organically, is questionable) Foundations, philanthropy, and so on, absolutely, if that’s required to preserve it as a museum piece, or classical artifact. Or, if cities and states have the popular will to support it with government arts funding, then let public policy respond to that. But it won’t make audiences love it, it won’t lure them come see it. Only the music itself can do that. Read the rest of this entry »
“I never saw anything like what Harry Reid did. To watch him, was to watch a master at work.”
“This was an opportunity cost of time. We could have been talking about jobs, farm bill, immigration, any number of issues that need to be addressed, and I commend the Speaker for coming around for bringing it to the floor. I salute — I never saw anything like what Harry Reid did. To watch him, was to watch a master at work. He was superb, intellectually, politically astute, and just the sheer stamina of it all. And it was a sign of the respect that his members have for him.”
Nancy excused herself from the podium, put on sunglasses, congratulated her staff and associates, then got into a van with an unnamed member of the press corp, where they remained for 20 minutes.
According to a White House source, and confirmed by others in the parking lot, Nancy and the journalist reportedly smoked a doobie while listening to the 1970s jazz-rock-fusion Supergroup Mahavishnu Orchestra‘s “Between Nothingness and Eternity“, at extremely high volume.
“I had to cut sound on my microphone, the noise from the van was bleeding in” a TV reporter complained.
Asked later about her taste in music, Nancy was eager to discuss early-’70s rock-funk and jazz. “Jan Hammer’s keyboard work is amazing”, Nancy said, walking to her office. “Though I really like John McLaughlin‘s earlier work, in Lifetime, with Tony Williams, and Bitches Brew, with Miles Davis. Have you ever heard McLaughlin’s solo album, Devotion? There’s a song on there “Don’t let the Dragon Eat your Mother” that totally kicks ass”. She added “The engineering on the album isn’t ideal, but McLaughlin’s guitar solos are mind-melting”.
h/t Hot Air
John McLaughlin was born on the 4th of January 1942 in Doncaster, England. His pioneering Super-fast, Super-loud Supergroup, the Mahavishnu Orchestra, left many in my generation with permanent hearing damage, and turned the rock world upside down. He’s 71 and still a killer. He, along with Miles Davis and his quintet were the foundations for jazz-rock fusion. I saw this quintet perform in 2010, and remember it fondly. For those up late at night, this is a good groove.