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This is the second part of a series on the relationship between jazz and comic books. Would you like to start at the beginning? Go to Part 1

American multimedia artist Gil Mayer, on his series of paintings called Jazz:

“I am trying to make it visually stimulating and aurally interesting. I like people to see my work and hear music. It is a testament to my creativity and my interest in this medium“

The spontaneous nature of jazz is often mentioned by musicians and listeners, but it was not always unanimous among its theorists. Among those who saw improvisation as a negative point is the philosopher Theodor Wiesengrund Adorno, one of the most voracious critics of the genre.

Between 1933 and 1953, Adorno published several articles distilling the purest hatred against jazz, even imagining connections between the genre and Nazism (!) (due to its supposed birth in military bands) and decreeing its end. Although Adorno, himself, backed down on several points, there is no denying that the philosopher, usually brilliant in his analyses, found in jazz a theoretical challenge, which he was unable to overcome.

The mistaken predictions of Adorno about jazz deserves to be highlighted in any list of basic analytical errors, starting with his rigid premises, completely inappropriate for his object (the disregard of the author for improvisation stands out).

When talking about jazz, Adorno sounds like an (excellent) pianist playing with boxing gloves: he hits the right one eventually, here and there, but, overall, the action produces a rather unpleasant result.

As a deep admirer of the Frankfurt School in general and, particularly a fan of Adorno, to the point of giving his name to one of my songs, I consider his articles on jazz as minor material in his production, with which, in fact, we will dialogue in different moments of our reflections, such as the famous concept of “cultural industry”, among others.

That said, let us move on to perhaps the first partnership between jazz and the visual arts, the partnership between Stravinsky and Picasso.

First of all, a few words on Ragtime, the genre:

Scott Joplin is one of the main exponents of ragtime, a genre that incorporates African and European syncopation. It should be noted that, like classical music, classical ragtime was based on a written tradition, being distributed in sheet music. Keep this information in mind, as it will be very useful when we talk about the importance of improvisation in jazz.

Stravinsky comes into contact with some of these transcriptions of ragtime music brought from the United States by his friend, conductor Ernest Ansermet in the late 1910s.

Later, in 1918, Stravinsky released “Ragtime”, a work composed for a small orchestra of strings, winds, brass and percussion, which cover ilustration was signed by Picasso, a friend of the maestro.

The work is doubly a reading of the Russian composer, both in the sense that Stravinsky knew ragtime written but not played, and in the sense the version of Stravinsky for ragtime incorporates elements of Russian modernity. For critic Lawrence Budmen, “Ragtime for 11 instruments” represents the uniquely personal take of Stravinsky on the new genre coming from the United States: “At once witty, dissonant and hard-driving, the work might be considered “ragtime with a modern Russian accent.”

The fact that Picasso illustrated the cover of the composition only reinforces the ties between jazz and the modernist avant-garde, which identified with the genre precisely because of its free character. Like Stravinsky, Picasso recognized jazz as a new field of artistic experimentation.

Almost a decade later, in 1927, Dutch painter Piet Mondrian made the relationship between the visual arts and jazz even more explicit in “Jazz and Neo-Plasticism”. As mentioned in part 1, in this series of articles, Mondrian argued that jazz and the then-new visual arts movement represented nothing less than movements. revolutionaries capable of dealing with the impositions of the new use of time and space brought by metropolises.

And the plot was just starting to thicken.

Be seeing yuo!

G.F.

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Summary

The journey of the research on the softening of borders between comics and jazz is explored, starting with considerations and anecdotes from the past. Billie Holiday’s connection to comic books, the transformation of jazz and comics into accredited forms of art, and the evolving relationship between jazz and comics are key points of exploration in the research. The impact of recognition on these art forms and the representations of jazz in comics are also critical topics for discussion.

In 2017, I presented a paper at a communication conference in Cartagena de Indias, Colombia, entitled On Comics and Jazz and, since then, I have been dedicating myself to the subject from both an academic and artistic point of view. In fact, one of the issues raised concerns precisely the softening of borders.

I would like to share with you the journey of this research, starting with some considerations that served as starting points. Enjoy!

In the Spring of 1948, the promoter Ernie Anderson met legendary jazz singer Billie Holiday in midtown Manhattan. They discussed details of her much waited come-back to show-business in the Carnegie Hall stage the following night. After leaving the Federal Reformatory for Women at Alderston, Virginia, where she served 10 months for ‘receiving and concealing a narcotic drug’, Billie depended on that act to re-establish her career.

As Anderson prepared to leave, ‘Lady Day’ asked him for some comic books. In that crucial evening, comic books made company to the great artist.

Forty-five years later Billie herself would become a much praised graphic novel by the hands of Argentinean authors José Muñoz and Carlos Sampayo (1993) and much before, in 1927, the Dutch painter Piet Mondrian had published “Jazz and the Neo-Plasticism”, claiming that jazz and the new movement he helped to put up were nothing less than expressions of a new life and considered them revolutionary movements capable of dealing with the new time and space impositions of the metropolis.

In 2015 jazz performer Kamasi Washington released his debut album called The Epic, a three hour piece, comparable to an opera and deliberately inspired in comic art both musically and also in the art of the album. Washington revealed he was actually working on a graphic novel and album final structure was directly influenced by it.

Both considered during long time marginal forms of expression, comics and jazz proudly arrived in the twenty first century as accredited forms of art and a regular subject for thesis and dissertations. But does this recognition also have a price? Did it implicate in some sort of compromising?

How (far) did it change jazz and comics features? Since the links between both jazz and comics continue to develop, how are these two languages interacting, that is, what are the representations in comics about jazz?

These are some of the questions we will develop throughout this topic.

Be seeing you!

G. F.  

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And there they are once again, folks. We always knew the moment would come but, somehow, we expected it to be different this time. Somehow. Well, we were wrong and here they are: the end-of-year retrospectives. Yay!… or, is it?

I must confess those recaps make me usually a bit sad because, it does not matter how much I have reached, I always had bigger plans on my mind when the year started. So, recaps work for me as an (unasked) update on the items in the list of resolutions we all make at the beginning of the year. How many promises were fulfilled? How much progress in our lives?

Not that I have problems with reassessments, not at all! If you read me frequently, and I bet you do, you know that a good part of our meetings are dedicated to promoting strategies on how to deal with changes in the itinerary, unforeseen events and the like. My motto is: Life is like jazz: you have to know how to improvise!

So what is the problem with recaps? Sincerely, I do not know how to explain it, but there is an melancholy air in such compilations of “the best moments of the year”, that makes me blue. Besides, they tend to vary between condescending (“we are all victorious”), and hysterically euphoric (“people are sharing your music in X different countries!”).

I frankly like observing the numbers, the statistics, and finding out the number of playlists in which I was included always puts a smile on my face. In short: I enjoy having access to the amazing amount of data that retrospectives contain, but I do not like the idea of making a spectacle out of it.

Actualy, the end of the year awakens feelings of contemplation in me. Maybe because it is my birthday month, for me retrospectives fall into the big package of “rethink your new cycle”, and to reflect I need introspection, which does not always fit with the current social policy of constant content share.

At least in my astral hell I would like to have a little time to digest the results of a whole year of hard work. I want to celebrate my achievements and think about what can be done, so as not to make the same mistakes. I want to return to my metrics without fear, aware of the place I occupy, without comparisons or competitions.

Would it be too much to ask?

Be seeing you!

G.F.

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In the movie Eternal Sunshine of the Spotless Mind (2004, dir. Michel Gondry), Clementine, character of actress Kate Winslet, comments that she would like to have the job of naming hair dyes. “The job is taken!”, she complains.

I remembered the scene while choosing lipstick colors on sale. Among the nude tones alone, the variety was impressive: cookie nude, (just) nude, nude matte and my favourite one, naked nude. What could be this colour, so mysterious that needed two synonymous words to be described?

Of course, the marketing worked for me and I bought the naked nude lipstick. Given the package received and the pale beige color of the lipstick, this naked nude was nowhere near as glamorous and daring as its name promised. The job is definitely taken, dear Clem!

I have been thinking a lot about the current mainstream pop and I could not help thinking that if I had to add a colour to the scene, naked nude would be a great option. There is a lot of glamour and eccentric names written in capital letters, a lot of pleonasm in the song lyrics, a lot of repetition in the costumes, wigs, and stage mannerisms.

No doubt the result is very colorful and noisy, but at the same time pasteurized and the result sounds as stimulating as a pale beige palette. I do not agree with the theory tahys says this happens because people happen to like the same things. My point is that in order to like or dislike something, first of all, I must be aware that that thing exists.

And here is the problem: always playing the same songs (whether new releases or oldies), radio stations make it very difficult for you to get to know a whole new world of wonderful independent music, which by the way, will not reach the top spots on streaming platforms, because the algorithms suggest… guess what? Mainstream themes!

And what would be the way to break this vicious cycle? Sincerely? I do not know. The mainstream scene is a million-dollar business, which involves many things beyond music. There is always something to do though, and no matter where you are, there is certainly an independent local scene, no matter how small. A local scene that you can strengthen, whether by promoting or attending events.

After all, expanding your taste beyond the “top hit” lists is also up to you.

Be seeing you!

G.F.

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Jazzkantine is is a musical collective founded in 1993 in Braunschweig, Germany. Their first album, Jazzkantine , released in October 1994 won the “Echo Award” in 1996, the most important award for German music.I first heard them during dinner at the home of a member of another German band, TreSimul, quite sucessfull during the late 1990´s. It was love at first heard.

Just like Nouvelle Cuisine, Jazzkantine also uses gastronomic analogies to describe the sound proposal of Matthias Lanzer, owner of the Rap Nation label. The team includes rappers Aleksey, Cappuccino and Tachiles, and producers Ole Sander (DJ) and Christian Eitner (bassist). The result can be defined as a mix of fusion, jazz, funk and German rap. Their albums also featured partnerships with international jazz musicians.

In addition to their first album, I also have their follow-up work, Heiss und Fettig (1995). Awesome music, the kind that you have to check out, trust me.

It is noteworthy that as of 2016, the titles of the Jazzkantine albums no longer contain references to gastronomy, and their latest release, Discotheque (2022), moves even further towards a change of direction. The group embodied one of the strongest trends of the time in the world of music: collective projects, but as many similar projects, they needed to readapt with the arrival of the self-centered 2000s.

I am not talking here about the transition from physical music to digital format, but rather about something that has become a kind of collective mentality, consolidated through the expansion of the tools provided by the internet to produce and consume music.

Dazzled by the idea that we were now all living in a new era of equal conditions of production and dissemination, the musical community moved away from the modus operandi that characterized the collectives and embarked on projects that, although musically increasingly similar to each other, are now sold as “unique experiences”.

Well, it is (past) time to admit that the golden days of no gatekeepers (if they ever existed) are gone. Even if a few names raised and nourished their audiences on the early days of social networks by keeping a rather quantitative than qualitative production, these same names had to turn to some kind of “paid content” strategy in order to have their material visible.

After all, the gatekeepers have not disappeared! They just outsourced the service, and since then, they are stronger than ever. Our entire focus now is trying to understand and to please this new entity: the “almighty” algorithm.

Maybe that is why we no longer have time to collectively appreciate the fine products servend on the jazz canteens.

Be seeing you!

G.F.