(I’m coming to Ornette and rap, right now. So in one sense while the record enabled the world to hear Black music, it also encouraged people to think that “one” way was “the” way. Plus, recordings both spread the music and froze the music, enabled cross-cultural (and cross-time, cross-place) study and appreciation of the music), but at the same time, the recording device locked the music into a static/processed thing, whereas in Black music one factor that is certain is change. You know what I’m saying?īy Western standards a lot of James Brown songs technically aren’t songs. Dynamite recording a nine minute song without ever crossing a bridge. Hell, we can do away with harmony, simplify the melody, hit a groove and ride for days-like Mr. What we call Black music is a different aesthetic. adherence to various, abstract ideal standards that a specific performance is measured against. And in all of it, a premium is placed on composition and technical correctness, i.e. Western music is based on a triad of melody, harmony and rhythm. I don’t mean he literally invented rap, but aesthetically (in terms of the three main elements of music from a Western perspective) what Ornette did in jazz is analogous to what rap did in popular music. Ornette Coleman started rap in 1959 with a record called The Shape Of Jazz To Come.
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