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引用次数: 2
摘要
本文分析了最近在“爵士重现”的支持下所采取的两种爵士乐过去的方法:2014年发行的《蓝色》(对迈尔斯·戴维斯六重奏乐队1959年的专辑《Kind of Blue》进行了一遍又一遍的重播)和杰森·莫兰(Jason Moran)对塞隆尼斯·蒙克1959年市政厅音乐会的多媒体重播,“在我的脑海里:1959年市政厅的蒙克”。我认为,与其说这是对爵士乐被封为圣徒的一种讽刺批评,倒不如说,《蓝色》是理解过去的同一种传统的直接产物,这种传统为这种封为圣徒提供了信息。这种传统是基于一种认识论,它赋予客观性、逻辑性、边界特权,并痴迷于命名,同时怀疑主观和不能命名的东西。然而,杰森·莫兰(Jason Moran)的《在我的脑海里》(In My Mind)对过去提供了一种不同的理解,它植根于模糊和联系,而不是描绘和分离。我认为,后一种理解对西方主流世界观中的过去、自我和他者概念提供了必要的批判。
Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959”
This article analyzes two approaches to the jazz past undertaken recently under the aegis of “jazz reenactment”: Mostly Other People Do the Killing’s 2014 release of Blue (a note-for-note re-performance of the Miles Davis Sextet’s 1959 album, Kind of Blue ) and Jason Moran’s multi-media re-visiting of Thelonious Monk’s 1959 Town Hall Concert, “In My Mind: Monk at Town Hall, 1959.” I contend that rather than an ironic critique of the canonization of jazz, Blue is a direct product of the same tradition of understanding the past that informs such canonization. This tradition is based in an epistemology that privileges objectivity, logic, boundaries, and an obsession with naming while suspecting the subjective and what cannot be named. Jason Moran’s “In My Mind,” however, offers a different understanding of the past, one rooted in ambiguity and connection rather than delineation and separation. I argue that this latter understanding offers a necessary critique of conceptions of the past and of self and other found in the dominant Western worldview.