The advent of the photograph had a profound and good effect on painting. As great as painting was before the photgraph, the challenge of the photo put painting on an aesthetic journey that it is still exploring. Once the faithful reproduction algorithm of representation was nailed by the photograph, painters knew they had to move on to maintain relevance, to be doing art at all. Jazz is in the same position with, for example, the solo function in programs like Band in a Box. Band in the Box can play a solo over any set of chords you throw at it. It can do it in any of a rather large number of styles and with a fairly high level of quality and sophistication. Want a Charlie Parker solo over the chords to some tune? Well, here it is. Now that the jazz improv algorithms are understood, jazz needs to move on the same way painting moved on from basic representation through all moves of modern art (cubism, abstract expressionism, etc.). The question, then, is what exactly counts as moving on for jazz?
Posted on: Sat, 09 Aug 2014 14:45:39 +0000
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