Frogman wrote - "What the purists don’t want to accept is that you can’t stop the evolution of the art form (any art form); it is always a reflection of the times. The purist thinks that he is "protecting" the art form by blanketly (?) rejecting the new. I think Wynton can take much credit for keeping the flame of tradition alive. However, one has to ask oneself the question? Ultimately, what does the most damage to art in the overall scheme of things? To try to keep the flame of tradition alive by rejecting the new directions that the art form takes; directions which are a natural part of its process. Or, to accept the new directions with the knowledge that accepting the new doesn’t have to mean forgetting about tradition, while holding the new up to the same standars for defining excellence. By doing the latter, what you end up doing is bringing a larger and younger audience to the art form who will end up discovering the traditional. There is always room for the new and the old, and excellence is not defined by whether it is new or whether it is old. "
Well said, Frogman. Great counterpoint to Wynton’s position and one, personally, that I tend to believe..."art will evolve" whether I want it to or not.
Acman thanks for the Jean Luc Ponty links. I had liked his playing with Zappa but limited sampling of his solo stuff (Cosmic Messenger?) just sounded awfully dated to me. On the other hand, the Blue Note recording (available on Amazon and I will order) did not. Seemed fresh. The King Kong it opens with is one of my favorite pieces from Zappa (to the uninitiated, see KK Variations on Uncle Meat). Thanks much.
Orpheus very much enjoying your Didier Lockwood link. Have forwarded to to family. My sister is a classically trained violinist but lately interested in other forms (Grappelli music book on the stand in their music room).