Reasons to detest Jazz # 9

[Crossless2.0]

Jazz sucks! I'd rather walk through a car wash naked with a dozen cats duct-taped to my body than listen to jazz.

-Teresa

Now that, I would like to see...

 . . . with "Stella By Starlight" playing in the background.

[Thumpalumpacus]

Jazz sucks! I'd rather walk through a car wash naked with a dozen cats duct-taped to my body than listen to jazz.

-Teresa

Just to be clear, I kudos'd this for the image of you naked with extra pussies and stuff.  Jazz does not suck though sometimes it blows. 





I know most of you will think it is cheesy and/or commercial but I'm no sophicate when it comes to jazz.

Chuck is to jazz what Swanson's is to home-cookin'. Shit's got to have swing:





Helps if a cat actually blows too.

[Edwardo Piet]

My favorite music of all isn't jazz, but it all has deep jazz influences. Traditional music theory alone is boring as fuck. I doubt we'd have prog without jazz, for example.

And you gotta admit that there is some jazz that is absolutely phenomenal... when it's good it's great. And when it crashes and burns... it's still less annoying than the poppy shite they play on the radio over and over and over until you start to temporarily envy Van Gogh.

[Little lunch]

I have the deepest respect for jazz, but I wouldn't want it to be playing on the radio in my upside down car as I slowly bleed to death.

[Thumpalumpacus]

Traditional music theory alone is boring as fuck.

That isn't what jazz is about, unless you're listening to some hack plough his way through a ii-V-I. It's about expression through exploration. Any real musician knows that theory is descriptive, not prescriptive.

[Edwardo Piet]

Traditional music theory alone is boring as fuck.

That isn't what jazz is about, unless you're listening to some hack plough his way through a ii-V-I. It's about expression through exploration. Any real musician knows that theory is descriptive, not prescriptive.

That's exactly what I'm saying. That's why I like jazz.... because it goes beyond traditional music theory. Thus far I find jazz theory a lot more interesting and open.

[Thumpalumpacus]

That isn't what jazz is about, unless you're listening to some hack plough his way through a ii-V-I. It's about expression through exploration. Any real musician knows that theory is descriptive, not prescriptive.

That's exactly what I'm saying. That's why I like jazz.... because it goes beyond traditional music theory. Thus far I find jazz theory a lot more interesting and open.

It utilizes the exact same Western music theory that classical composers have used. There is no "jazz theory" or "classical theory". The intervals are exactly the same, the chord descriptors are the same, it's just that the theory is describing two different styles of music. A diminished chord is a diminished chord, a flatted seventh is a flatted seventh, and so on.

[Little lunch]

That's exactly what I'm saying. That's why I like jazz.... because it goes beyond traditional music theory. Thus far I find jazz theory a lot more interesting and open.

It utilizes the exact same Western music theory that classical composers have used. There is no "jazz theory" or "classical theory". The intervals are exactly the same, the chord descriptors are the same, it's just that the theory is describing two different styles of music. A diminished chord is a diminished chord, a flatted seventh is a flatted seventh, and so on.

Except for that one thing where double quavers are almost always read as a dotted quaver and a semi-quaver making 4/4 bars sound like a couple of 6/8s.

[Thumpalumpacus]

It utilizes the exact same Western music theory that classical composers have used. There is no "jazz theory" or "classical theory". The intervals are exactly the same, the chord descriptors are the same, it's just that the theory is describing two different styles of music. A diminished chord is a diminished chord, a flatted seventh is a flatted seventh, and so on.

Except for that one thing where double quavers are almost always read as a dotted quaver and a semi-quaver making 4/4 bars sound like a couple of 6/8s.

The differences are stylistic. You needn't trust me, the Gershwins milked that cow eight decades ago in Porgy & Bess.

On top of the beat, on the beat, or behind the beat, the time is the same -- only the emphasis changes. We musicians call that "feel".