At its most basic, what you and Rok don't seem to be able to grasp (and, actually, at this point of the protracted "argument", I believe its more a case of not wanting to) is the simple fact that the evolution of music forms is a continuum; they are not discreet separated steps. As Alex correctly points out its all connected. Do you really think that Bebop simply sprung up without connections to what came before it? If you can't understand why something like Coleman Hawkins' famous and groundbreaking recording of Body And Soul with the departure from a traditional (swing) improvisation style, to the much more angular with advanced harmonic approach, then all I can say is that you have a lot more to consider; but, we knew that.
**** Music can not, nor should it ever be approached from an intellectual stance. ****
False. The enjoyment of music, NO, you are correct; not entirely, anyway. That's personal and if a particular listener happens to like something I consider bad for whatever reason, then so be it. The analysis of music? YES, YES, and YES. And analyze is what we are doing with this topic.
**** Why would I speak to Billy Taylor or Wynton Marsalis about Bebop? When it was the first corner of jazz I explored. ****
BINGO!!!!! We are finally getting somewhere. Answer? Because, as someone no longer posting here (yes, one of those) once wrote: it seems that it is always about you, O-10. Why should it matter one bit that bebop was the "first corner of jazz that you explored"? Why is it that you think your own necessarily limited experience with this means that this is the universal truth about such a complicated topic? No offense meant, but....man!
Rok, nice try, but most of what you wrote has little if anything to do with what we are discussing. Beethoven? Really? Kindly explain where ANY significant African influence or exposure to, of any kind, would have existed in Beethoven'a sphere of influence to have, well.....influenced him. Obviously, none. Re you "logical point of view #2":
African slaves were NOT stripped of everything African. In fact, New Orleans, the birth place of jazz, was the only place where they were allowed to keep their drums. So......duh! You don't want to consider any of this? That's fine; believe what you will. Much more that can be said on the subject, but as Forest Gump so succinctly said: "I'm pretty tired, I think I'll go home now".
**** Music can not, nor should it ever be approached from an intellectual stance. ****
False. The enjoyment of music, NO, you are correct; not entirely, anyway. That's personal and if a particular listener happens to like something I consider bad for whatever reason, then so be it. The analysis of music? YES, YES, and YES. And analyze is what we are doing with this topic.
**** Why would I speak to Billy Taylor or Wynton Marsalis about Bebop? When it was the first corner of jazz I explored. ****
BINGO!!!!! We are finally getting somewhere. Answer? Because, as someone no longer posting here (yes, one of those) once wrote: it seems that it is always about you, O-10. Why should it matter one bit that bebop was the "first corner of jazz that you explored"? Why is it that you think your own necessarily limited experience with this means that this is the universal truth about such a complicated topic? No offense meant, but....man!
Rok, nice try, but most of what you wrote has little if anything to do with what we are discussing. Beethoven? Really? Kindly explain where ANY significant African influence or exposure to, of any kind, would have existed in Beethoven'a sphere of influence to have, well.....influenced him. Obviously, none. Re you "logical point of view #2":
African slaves were NOT stripped of everything African. In fact, New Orleans, the birth place of jazz, was the only place where they were allowed to keep their drums. So......duh! You don't want to consider any of this? That's fine; believe what you will. Much more that can be said on the subject, but as Forest Gump so succinctly said: "I'm pretty tired, I think I'll go home now".

