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Author Topic: aacm's politics get in the way says brian morton  (Read 117 times)
mr improv
**
Posts: 80



« on: 11:09:00, 19-10-2008 »

anyone hear the jazz library on sun ra yesterday

there were some gems of music in there
the one they didnt play sounded most interesting
[shame they always cut the most interesting stuff
guess it's the format- soundbite culture-3minute songs work best]
i know they've gotta tell the story but
it makes the musical represention lopsided

anyways
goddam brian morton is up there again
deciding what sun ra really meant
when he stated he was from saturn
mr morton doesnt mind for a minute discounting
the philosophy and ethos these musicians have carried
avowedly through their lives
it seems to be something of an appropriation
when he says he owns over 100 cds but doesnt seem to care much
for what sun ra stated as his truth

and then at one point
he said he thought it was a pity that the aacm
tended to overlay the political thing onto the music
and it didnt work

i'm sure george e lewis and most of the guys in the aacm would argue with this
but hey
they should listen to mr morton's version of thier own lives and just shut up

sorry i dont have the exact quote

i'll rewind my tape and we'll put it up on the net that's the idea
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richard barrett
*****
Posts: 3123



« Reply #1 on: 13:27:08, 19-10-2008 »

anyone hear the jazz library on sun ra yesterday

No, but it reminds me that I have to get the Heliocentric Worlds stuff on CD as soon as possible, haven't heard those for years.

What the AACM people realised was that for African-American musicians to establish an experimental music of their own was a fundamentally political act in itself. It wasn't "overlaid" on the music any more than racism is "overlaid" on western societies...
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King Kennytone
***
Posts: 231



« Reply #2 on: 17:35:19, 20-10-2008 »

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Ubu-Impudicus
*
Posts: 44



« Reply #3 on: 18:03:45, 20-10-2008 »


 Having some control over how your own music is distributed, that can't be bad. (Kabell, AEOC, Braxton house labels).
 Finding out what you want to do most vitally, getting together with similarly oriented souls, to try to get on with the business of doing it, regardless of the artificially created market-biased manoeuvrings of the powerMAN (as Wadada calls him/her/it/them).
 Trying to keep what you know vital, as part of an ongoing tradition, not to let it go stale or ossified or become a museum exhibit, for the rich folks & tourists to come & point at, &  to pass it on to future generations.

 What's wrong with that? How does it hamper the music? Did John Coltrane's beliefs, whether you share them or not, get in the way of the music? Without them it's doubtful if he would have survived.

 I remain grateful to all these people for doing what they knew they had to do, & delivering so much wonderful music to the world.
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mr improv
**
Posts: 80



« Reply #4 on: 23:16:53, 20-10-2008 »

i think it not only doesnt hamper the music
it possibly created the music

some of these guys felt lucky to be alive
and/or free in the vile land  genocide creation usa

many of them were not only barely allowed to exist
as human beings but they were barred ffrom making music
that they wanted to make

see george e lewis
a power greater than itself

see/hear jarman and mitchell and them all
screaming at you from the grooves of the black vinyl

brian morton#s favourite phrase seems to be
'you're aboslutely right'
as if he is the one who'd know

ahem
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