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Today is International Jazz Day (Hurray!). This year, I propose a reflection on the role of AI in jazz. Is is just anothert tool? A threat?

Here are some reflections on AI’s rising influence and growing presence in the music industry, from song generation to virtual instruments and its impact on the future of a genre deeply rooted in human creativity and improvisation. You may read the txt or watch the video. Enjoy!

jAIzz

Close your eyes and imagine the smoky haze of a jazz club. Suddenly, it hits you, that unmistakable, infectious beat. Take Five, the iconic jazz anthem by Paul Desmond, immortalized by the Dave Brubeck Quartet, washes over you.

The melody is both complex and playful, the rhythm a daring departure from the norm. Take Five isn’t just a song, it’s an experience, it’s a conversation between instruments, a spontaneous outpouring of creativity and emotion. It is jazz at its finest, unpredictable, soulful and undeniably human.

But what happens when this human element, the very soul of jazz, faces an unexpected partner on stage, artificial intelligence? The world of music is no stranger to innovation. Throughout history, musicians and inventors have pushed boundaries, always searching for new ways to express creativity and emotion. From the invention of the gramophone to the birth of digital recording, technology has always shaped how we create and consume music.

Each breakthrough has opened up fresh possibilities, transforming not just the sounds we hear, but the very process of making music itself. What is new in the case of artificial intelligence is the fact that it’s not just a new game player, it’s a game changer. Algorithms can compose songs that are often indistinguishable from human creations.

The new technologies are able to listen, adapt and respond, creating a dynamic musical conversation. These systems can analyze countless styles and genres, learning to mimic the nuances of jazz improvisation in real time. A world where AI algorithms collaborate with human musicians is no longer a piece of science fiction, it is happening now.

As AI technology continues to evolve, its impact on the future of jazz is becoming impossible to ignore. The next era of music is unfolding before our eyes, and AI is part of it. The boundaries between human creativity and machine intelligence are becoming increasingly blurred, but the marriage of jazz and AI is a complex one though.

It is filled with promises and uncertainty. AI offers jazz musicians incredible new tools for creation and collaboration, opening doors to sounds and ideas that may have never been explored before. Imagine an AI program that can analyze your improvisations, learn from your style, and even suggest harmonies, rhythms or chord progressions you might not have considered.

Acting as a creative partner rather than just a tool. But again, is a tool ever just a tool? Let’s go back to 1966, when French philosopher Michel Foucault brilliantly approached the topic of the subject in his analysis of the painting Las Meninas, an oeuvre from 1656 by Spanish painter Diego Velázquez. On the canvas, the main motif of the painting, the representation of King Philip IV and his wife Mariana, is reduced to a mere reflection in a tiny mirror on the wall.

While the painter himself and secondary elements of the scene are moved to the front of the composition, Foucault perceives in the inversion of the roles proposed by Velázquez a breaking point. The subject of the painting is replaced by representation, and the representation becomes the main subject. Free from its reference, which is now relegated to a supporting position, representation no longer needs to belong to anyone or point to anything except itself.

Certainly, the history of humanity is full of examples that show that any technological innovation provokes heated reactions, both for and against it. On the other hand, denying that we are facing a peculiar challenge, to say the least, is tantamount to denying climate change, on the grounds that weather has always changed. What is at stake here is much more than a mere personal, aesthetic choice, but rather a collective, ethical attitude towards the future of a music genre.

Why? First of all, because the golden days of believing in a neutral form of technology are over, if they ever existed. This was not the case in analog times, and is absolutely not the case in the digital age. And yet, many creators refer to AI as just a tool.

Well, if you think that a complex system, such as artificial intelligence, is just a tool, and that tools are neutral entities, above the good and the evil, perhaps it is interesting to ask yourself, every time you find yourself in front of a tool, be it your car or your tablet, who produced it? Who distributes it? Is it free? Is it accessible to all? If such questions never occurred to you, then probably you are in a position that allows you to take the access to technology for granted, and to consider it as a fundamental right. A position that sets you at a remarkable advantage compared to the substantial amount of people all over the world that cannot take potable water for granted, let alone the access to the internet. Secondly, because there is no such thing as a free lunch, we know that, at the end of the day, we, humans, are the ones providing the data that feeds AI.

And this often occurs without our knowledge, and through rules that are still very opaque to the average user. The overwhelming majority of us ignore the extent to which all of this information is used. The lines between the surface web, the deep web, and the no man’s land called the dark web often overlap, and the popularization of the use of AI brings a powerful player into the game.

The problem is that no one knows for sure how this player behaves on the field. Finally, I believe that the discussion about the use of AI is not limited to personal preferences, but rather is linked to collective issues, because the promise behind all the promises that AI makes to us is that of a future of infinite creative possibilities, which cannot be experienced unless collectively. After all, your work alone does not bring much to the database, but a world of wonders is just a click away, as long as we all agree to take part in the farewell ceremony to authorship and copyrights, at least concerning individuals, since corporations are usually quite effective in finding loopholes to circumvent sanctions imposed on ordinary citizens.

Appealing to an idealized future is a good pitch, but it hides the fact that artificial intelligence is actually tied to the past. As member of the Brazilian Academy of Sciences, neuroscientist Roberto Lent recently pointed out, quote, artificial intelligence depends on the past, on a huge database to function. It deals with this data in a passive way, while the human brain deals better with the future, creating new information.

So, AI accumulates what humans have created and uses it for functions that resemble what the human brain does. But what really creates knowledge is the human brain, unquote. Back to jazz, can an algorithm truly understand the soul of a genre born from human experience, emotion, and the freedom to break the rules? Or does it risk turning a deeply personal art form into something mechanical and predictable? At its core, jazz is about improvisation, the art of spontaneous musical experience.

Each performance embraces the unexpected, and it is unique, shaped by the chemistry between players and the mood of the audience, and the mood of the musicians as well. Jazz is about feeling the music deep within your bones and letting it flow out through your instrument. The magic of improvisation lies in its unpredictability and the way it captures fleeting moments of inspiration and emotion.

But, again, can AI, bound by algorithms and devoid of genuine emotion, ever truly grasp the essence of improvisation? Can a machine, no matter how advanced it, understand the subtle cues, the silent communication, and the emotional depth that define a great jazz performance? Can it replicate the raw, unfiltered emotions that give jazz its complexity? Or is there something inherently human about the way we express ourselves through music, something that can’t be programmed or predicted? These questions challenge us to consider what it truly means to create art, to improvise, to connect with one another through music, and to find meaning in the spontaneous beauty of the moment. But, after all, what about our main question? Will AI enhance the human experience of jazz, or will it dilute its essence? The answer, like a complex jazz melody, is full of nuances. But one thing is clear, it’s up to us, the listeners and creators, to shape the future of jazz.

As for AI, just as Velazquez reduced the subject to a reflection in the mirror, but could not totally get rid of it, artificial intelligence cannot do without the continuous human production either, under the penalty of becoming an obsolete tool. The future of jazz remains a human specialty and responsibility.

Happy Jazz Day!

Be seeing you!

G.F.

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At the end of last month I went into the studio twice to record. I have already talked about the experience of the first day here, and at the end of this text you will find the video of the second day of recording. The track is a samba and is called “Todo Domingo É Assim” (Every Sunday It Is The Same). The next step is to mix and master the material while planning the release strategy.

Recording work, like rehearsals, involves a lot of repetition and preparation, and the final product is a future prospect. The way I see it, the opposite of this situation, the moment in which you deliver the product is the moment of the live performance. And talking abou live performances, last week I had a delightful experience at a concert by the great master of the harmonica Mauricio Einhorn.

In a very inspired evening, four musicians had great fun on a small stage and entertained us even more with impeccable performances and fantastic improvisations. The fact that the band leader was about to turn 93, in top form, made the night even more memorable.

And how beautiful it is to see the affection of the audience for the musicians! But of all these exciting aspects, nothing compares to watching the musicians perform on stage. If there is a face for a blessing, for a state of ecstasy and transcendence, it is the ones of performing artists doing their thing: dancers dancing, painters during the act of painting, writers during the act of writing and so on.

When it comes to musicians performing, each performer will have their own way of experiencing the bliss: some will close their eyes, immersing themselves completely in the music, allowing the melodies to wash over them like a warm wave, while others will contort their faces in a vivid reflection of the emotions stirred within.

There are also those who seem so intensely focused, as if the only thing present at that moment were the instrument itself, and in this trance-like state, they create a connection that transcends the physical realm. Others may even mark the time with subtle movements, tapping their feet or nodding their heads, creating a rhythmic pulse that echoes through the space, and for me, it is a spectacle in itself to watch them, as each performance tells its own story, enveloping the audience in a shared dreamlike aura, which not even the forty-degree Celsius heat outside and the wobbly air conditioning can disturb.

Perhaps this is (another) good definition for art: it is what makes you greater than the adversities of life, a powerful force that transforms our struggles into something beautiful and meaningful.

When facing challenges, art acts as a refuge, allowing us to express our emotions and thoughts, fostering resilience. It is a powerful tool to turn pain into creativity and sorrow into hope, ultimately making it possible to rise above circumstances and connect with something bigger than us.

It is a beacon of light, illuminating our potential for growth and renewal.

Be seeing you!

G.F.

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When my dear friend, Anna Rodriguez,, amazing jazz singer and songwriter, invited me to a live broadcast on her social media channel, my first reaction was to say: “Yes, of course, count me in!” After all, in addition to greatly admiring her work, Anna had been a guest on QuaranJazz, the podcast I´ve created in 2020 to help musicians promote their work during the first year of the Covid-19 pandemic. I loved having her as a guest, and it had been a while since we had spoken, in short: I had all the reasons to accept, except one: the fact that I feel extremely uncomfortable in this format of interaction.

Will the technology work? Will my phone have enough battery life? Do I need to buy a phone holder? Will my neighbors make too much noise? Where should I look: at the camera or at the screen? These are only some of the many little ghosts that start to multiply themselves inside my head, whenever I accept a commitment for a virtual meeting.

I often find myself worrying about the stability of my internet connection, the quality of my webcam, and whether my background looks professional enough. As I prepared for the meeting, I wondered if I would be able to effectively communicate my points without any technical glitches. These concerns, along with the fear of being interrupted by unexpected disturbances, make the thought of virtual meetings always quite daunting to me.

On the other hand, it was an invitation from Anna, so I decided to overcome my fears and did not give up. And you know what? I am very happy I made this decision. What a lovely afternoon!

The idea of the talk, per se, is very friendly (an informal chat about various aspects of the training and career of musicians) and Anna knows how to lead the conversation very well, so that the scheduled time simply flew by.

And what do singers talk about when they meet? A little bit of everything and a lot about the art of singing. It is great to be able to talk about our creative processes, the relationship of complicity we seek with the musicians who accompany us, what moves us to open our hearts and sing.

As I once heard from a singer: the voices are always at the service of something. This profound statement highlights the essential role of voices in serving a purpose, be it conveying emotions, telling stories, or spreading messages that resonate with the audience.

Whether it is the soothing melody of a lullaby comforting a child to sleep, the impassioned vocals of a protest song advocating for change, or the stirring narration of an audiobook transporting listeners to different worlds, voices indeed play a crucial role in communication and connection.

When it comes to singingm specifically, using your voice involves choices at every turn: the selection of words, the modulation of tone, the curation of repertoire. With each deliberate and informed choice, the voice of the singer is not only perfected, but elevated to new heights, carrying with it the weight of experience and purpose.

The more informed and intentional these choices become, the more commanding and resonant the voice grows, creating a profound impact on the audience and the world at large. In other words: the more informed these choices are, the greater the voice becomes.

Choices are not always easy to make, and singing can be very tricky, but the fact of being aware of this need and knowing how to deal with it is the superpower of a singer. Most of the time we are dealing with the challenges of this superpower (with great power comes great responsibility, remember Spiderman’s maxim?), but when I talk to another singer I completely relax, even in a virtual conversation.

It was great to have the time to exchange experiences and to find out that the solitude in front of the microphone is, in fact, an experience shared by all of us.

Maybe this is why talking to other singers is always somehow a magical experience for me.

Be seeing you!

G.F.

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This is the ninth part of a series of articles on the relationship between jazz and comic books. Go to Part 1 , Part 2, Part 3, Part 4, Part 5, Part 6, Part 7 or Part 8

In this segment we will focus on two works, which illustrate the intrinsic relationship between comic books and jazz. The first one is the groundbreaking album The Epic (2015), by Kamasi Washington, jazz saxophonist, composer, and bandleader. He gained widespread acclaim for his contributions to the album To Pimp a Butterfly by Kendrick Lamar (2015).

The Epic solidified the reputation of Washington as a leading figure in contemporary jaz, known for revitalizing the interest in jazz among younger audiences with his ambitious, expansive compositions. The vinyl edition of the album is truly a captivating experience, designed to immerse the listener in an adventure that unfolds across multiple discs.

Each of the LPs represent a new chapter in the musical journey, accompanied by striking black and white photography that beautifully captures the essence of the Afrocentric free jazz aesthetic embodied by influential labels such as Tribe, Strata, and Black Jazz. This approach not only elevates the auditory experience but also adds a visual dimension to the storytelling woven into the music.

The Epic box set also included an graphic novel-inspired collection of images, exploring the conceptual narrative that underpins the compositions, offering enthusiasts a deeper understanding of the creative vision behind the album.

And The Epic continues to resonate. In recent years, Washington has been working on a graphic novel: “I had a dream [with] a story that encompassed all the songs [on The Epic], which really led me to have the conviction that I was really going to put it out. So I’m creating a graphic novel for that.”

The second graphic novel we would like to highlight is Instrumental (2017), by Dave Chisholm, a tale about the transformative power of music, weaving together themes of passion, struggle, and artistic expression.

The graphic novel “Instrumental” by Dave Chisholm offers a compelling journey into the emotional and creative depths of its characters. Chisholm, recognized as an acclaimed jazz musician, skillfully shines a spotlight on the intricate and profound experiences encountered by the characters within the narrative. Described as a high-spirited, suspenseful, formally inventive, and visually musical masterpiece, “Instrumental” delivers an epic yet intimate exploration of our relentless longing and search for what lies ahead.

The graphic novel intricately weaves together elements of music, storytelling, and artistry to create a truly immersive and captivating reading experience. It includes a download of an original jazz soundtrack, composed and performed by the author Dave Chisholm. As readers delve into the pages of this remarkable work, they are treated to a fusion of visual art and musical composition that enhances and enriches the narrative, resulting in a multidimensional journey.

The inclusion of the original jazz soundtrack not only adds an auditory layer to the reading experience but also serves as a testament of the multifaceted talent of Chisholm. As with the work of Washington, the innovative approach underscores the interconnectedness of commic ast and jazz, offering a one-of-a-kind opportunity to engage with narratives that transcends traditional boundaries.

Both works invite the readers/listeners to experience the power of storytelling through a harmonious convergence of music and visual art.

Be seeing you!

G.F

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This is the eigth part of a series of articles on the relationship between jazz and comic books. Go to Part 1 , Part 2, Part 3, Part 4, Part 5, Part 6 or Part 7.

The present segment of this series of articles on Comics and Jazz proposes a comparative reflection on how comics and jazz went from being marginalized forms of expression to becoming items of interest to collectors.

The changing of jazz from its humble origins to a cultural phenomenon associated with sophistication and elegance is a testament to the complex dynamics of cultural appropriation and reinterpretation. In the early 20th century, jazz was gaining popularity and recognition as a distinct musical genre.

Originating in the African-American communities of New Orleans, jazz drew upon diverse musical influences, including African rhythms, blues, and ragtime. Its infectious rhythms and improvisational nature quickly captured the hearts of music enthusiasts around the world, propelling it into the mainstream.

Jazz became synonymous with freedom of expression and individuality, reflecting the cultural and social changes of the time. The lively syncopated rhythms and soulful melodies not only entertained but also challenged traditional musical conventions, paving the way for experimentation and innovation in the arts.

As jazz diversified, it gave birth to various subgenres, from swing and bebop to fusion and Latin jazz, demonstrating its versatility and adaptability across different cultural and geographical contexts. Its cultural significance also grew, attracting the attention of music enthusiasts. Over time, the historical value and artistic merit of jazz recordings, memorabilia and artifacts continue to captivate aficionados.

The trajectory of jazz bears a striking resemblance to the journey of the comic art, often referred to as the Ninth Art. In their early days, comic books faced significant challenges in being taken seriously as a form of artistic and literary expression. They were often dismissed as mere entertainment for children and adolescents, lacking the depth and complexity attributed to traditional forms of literature and art.

A notorious case of persecution of comics was that of the so-called Comics Code, a pivotal moment in the history of comic book censorship and regulation.

The Comics Code Authority (CCA) was established in 1954 as a direct response to the growing unease surrounding the content portrayed in comic books during that time. A series of Senate hearings and the release of the book, “Seduction of the Innocent” by psychiatrist Fredric Wertham sparked a moral panic and heightened concerns about the potential negative impact of comic books on readers, particularly the youth.

These events culminated in the implementation of the Comics Code Authority, which aimed to regulate and censor the content of comic books to ensure compliance with specified standards. This self-regulatory body was created by the Comics Magazine Association of America and aimed to give guidance to publishers about the content of comic books.

The CCA established a set of stringent guidelines that prohibited the portrayal of graphic violence, gore, and overtly sexual content in comic books. Publishers were required to submit their work to the CCA for approval, and only those publications that adhered to the guidelines were allowed to display the CCA “seal of approval” on their covers.

Many retailers would only stock comic books that bore the CCA seal. This meant that publishers had to comply with their regulations in order to have their products reach a wide audience. However, over time, the CCA faced criticism for being overly restrictive and stifling creativity in the comic book industry. This led to a decline and by the early 2000s, most major publishers had abandoned the CCA seal in favor of their own rating systems or no ratings at all, as the perception of comic books began to shift.

A key factor that contributed to the recognition of comic books as a legitimate art form was the emergence of critical and academic discourse that analyzed and celebrated the medium. Scholars and cultural critics delved into the thematic, aesthetic, and sociocultural dimensions of the comic art, exploring their ability to address complex issues, convey poignant narratives, and provide profound social commentary.

Furthermore, universities and educational institutions began incorporating comic studies into their curricula, offering courses that examined the history, theory, and cultural significance of this unique form of visual storytelling. This shift not only validated the artistic and literary merits of comic books but also fostered a new generation of creators and scholars.

The shift of comic books and jazz from marginalized forms of expression into products that are symbols of consumption and status unfolds as a complex interplay of cultural influences and the ever-evolving dynamics of the cultural industry. It also provides valuable insights into the changing aspects of status symbols and how the value of a product is the result of a social construction. Furthermore, it prompts critical examinations of the forces at play in the commodification of art in contemporary society.

Be seeing you!

G. F.