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Qunicy Jones. It takes an extraordinary amount of ego, or perhaps an
extraordinary kind of ego, for a musician (or any artist) to ...
... MUSIC CRITIQUE ? HANDEL?S MESSIAH ? A SOULFUL CELEBRATION Producers Qunicy Jones
and Mervyn Warren took George Frederic Handel?s Messiah for a spin and ...
Submitted by JBTB2619 on January 31, 2007
Category: Music and Movies
Words: 1107 | Pages: 5
Views: 247
Popularity Rank: 30,344
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It takes an extraordinary amount of ego, or perhaps an extraordinary kind of ego, for a musician (or any artist) to think that he can influence his field over a period of several decades and learn to handle new expressions and aesthetic possibilities with the same ease as he did in his youth-that he can learn, in short, to speak to new audiences in their own tongues. And few musicians have the temerity to endlessly impose their will on any material at hand; to shape the world, artistically, not only on any terms but in any terms.
It is interesting that of the beboppers who emerged after World War II only Miles Davis and Quincy Jones survived as major musical presences with fresh ideas beyond the age when anyone would have expected it of them. The careers of both men, in fact, ran parallel to each other, but in different directions. Davis, like Jones, a trumpeter, moved from style to style in jazz, from bebop to cool to a sort of semi-avant-garde in the 1960s to a kind of rock-funk sound in the 1970s that was mostly a furious and sometimes undisciplined extension of the avant-garde ideas he had been experimenting with. He was enormously attracted to youth, and when he became older, his sidemen continued to be young. In addition, Davis displayed his ego by being something of a disaffected exhibitionist and a street-oriented misanthrope, stances that he managed to make appealing and hip, rather than psychopathic and infantile (which, in some measure, they were), by infusing them with racial angst and masculine aggression. He was an extraordinarily proud black man but to some a disagreeable one. However, he never ceased to be a jazz musician, a soloist, a man consumed with the nature and meaning of his own sound.
\"All the musicians moan about the level of American popular music,\" said Quincy Jones to Gene Lees in an article that appeared in Down Beat in 1960, \"but all they do is moan about it. They wouldn\'t think of going into it to...
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