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Brilliant Corners: More New Yorker Jazz Nonsense

Brilliant Corners: More New Yorker Jazz Nonsense


More New Yorker Jazz Nonsense

A recent short piece in the New Yorker (they call it a "casual") brings us back to the shift in how this magazine and other "thoughtful" mainstream periodicals now think of jazz.

The piece, under the heading "The Musical Life" is titled "Protege." It opens this way: 

"Jazz, once the national vernacular, lingers as a fading dialect at a musicians’ union in Hell’s Kitchen. Old men in black fedoras and roomy suits, men who toured Europe with Lionel Hampton and Chet Baker, now brush the hi-hat at Monday-night jam sessions before forty people in folding chairs. A few Mondays back at Local 802, “A Foggy Day” sounded downright murky until Quincy Jones strode in and a chorus of old friends cried, “Q! Q!”"

The piece focuses some of its attention on pianist Justin Kauflin, a protege of trumpeter Clark Terry. Kauflin's recording career was given a boost by the involvement of Quincy Jones, who also helped finance the documentary about Terry and Kauflin, called "Keep on Keepin' On." 

Apart from this, there's a noticeably prurient emphasis on Jones' love life. He flirts with two women, and says: "four Sudoku every day, to keep me young. Puzzles, and young women!” The closing of the piece is:

"As Kauflin turned away, Oxenhorn patted his knee and said, “It doesn’t matter how good-looking or talented you are—when Q calls a woman over, she’s going to leave you."

The final bit I want to quote is this:

“Until I met Clark,” Kauflin said, “I’d never been around anyone who could say ‘I love you’ so easily, who could spread joy just with his beautiful soul. That’s the same vibe I get from Q. We need to bring back that love because”—he gestured to the room—“we don’t exactly have a big audience anymore.”

So, to sum up: jazz is a fading dialect, the province of old men with fedoras and "roomy suits" (where the hell does that come from?) playing, essentially, for each other. Two elders of jazz are mentioned: Clark Terry, who is unfortunately, near the end of his life (offstage) and Quincy Jones (center stage), a swashbuckling womanizer with the bucks to keep the dim jazz flame alive.

Make of it what you will.



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