jazzery reruns

I was hardly surprised that the jazz/classical fusion concert I attended last weekend got good reviews from both the local daily (reg required) and weekly papers. Indeed, I expected that everyone would like it except me. My experience is that the majority of symphony-goers, especially elderly ones, actually prefer jazz, MOR, and Boston Popsery to the masterpieces of the symphonic repertoire - that's what they listen to on the stereo at home - and get enthusiastic about any opportunity to hear it in the concert hall. And I have no objection to this, except insofar as I am no less selfish than they, and would prefer to hear the music that I like. An orchestra that leans very far in the jazz/pops direction will simply no longer receive my custom. The box office might sell more tickets that way, but that's no excuse because it would sell yet more tickets if it abandoned classical music altogether and booked the Rolling Stones into the Oakland Coliseum. If you're going for a niche audience, you have to decide which niche.

(My own ideal program? Well, MTT once played a Beethoven and a Shostakovich symphony in the same concert. They didn't mix very well, as the composers' forms of discourse are so different, but both individual works were my kind of music.)

Time to respond to some of the comments I received on my previous jazzery entry:

sartorias grew up with jazz, so lack of familiarity is not what causes her to perceive that most of it lacks both melody and structure. These are elements I too like in music - melody takes precedence for me in folk and pop, structure in classical - and I too am most drawn to that jazz which I perceive as having it. (Jazz vocals? No, they seem to me to have a quality I can only describe as anti-melodic. I can't abide Billie Holiday, or anyone like that, at any price.)

baldanders names Ellington, Mingus, and Threadgill as "the most composition-leaning" of major jazz composers. I don't object to any of those guys as musical wallpaper in a used book store, where I've heard them all, but I have no emotional, or even intellectual, response to their music whatever. I've trained myself to like some classical music that did not initially appeal, but I always started with some kind of response.

An anonymous poster (but I think I know who) asks, "I wonder if anyone who goes in to a concert expecting not to like it can come out changed?" If one's expectation is based on ignorance, or on not expecting the performers to be capable of the achievement they can produce, absolutely. It's happened to me. If, however, the expectation is based on a thorough understanding of one's own tastes and preferences in repertoire, then no, I am unlikely to change my opinion. Why should I?

kip_w asks me not to go listen to his favorite, Art Tatum. OK, I won't.

He also says he can find some good in almost any genre. I agree. I've found a few jazz pieces I like. I once heard a country album I rather liked. (It was by Dolly Parton; it was also by Linda Ronstadt and Emmylou Harris, which probably helped.) I once even found a rap song that I liked, though it wasn't a genre rap song. (It was "One Night in Bangkok." It's mostly rhythmic speaking to a beat track - it's a rap song.)

voidampersand says that to learn to love jazz one should learn to dig the blues. Yes, but what's going to teach me to dig the blues? Immersing myself in these musics for decades in used book stores hasn't helped.

I haven't heard the Gubaidulina Offertorium that he describes, but while Gubaidulinia is a very difficult composer, the kind of musical metamorphosis he describes makes sense to me both intellectually and emotionally, whereas I do not follow what jazz musicians do to a popular tune.

alanro, taking off on another point, shares my aversion to Richard Strauss. But one Jennifer, replying to him, suggests his Piano Quartet as nice and Brahmsian. I don't know that particular work, but I expect I would agree. It dates from 1885, and very early (pre late 1880s) Strauss is an entirely different composer whom I rather like. His Suite for Winds, Op. 4, is a real charmer.