By Steve Provizer
..."why is the Tristano school always shown as a branch of cool jazz? Those guys were hardcore bebop heads. Is it just that they were white and some of them wore glasses so people confuse them with Brubeck?" —Ian Carey
Mr. Carey, The Institute is here for you. Our first attempt at typology, utilizing shifting hair patterns, was primitive. Now, 6 months later, our staff has devised a truly scientific means of classifying jazz musicians in their proper schools, be it Traditional, Swing, West Coast, Bop, Cool, Hard Bop. Post-Bop, New Thing, Avant-Garde, Fusion, Retro. We call it: Spectacle Assessment Typology (SAT)*
*Please note the gender limitations of this process. Until the 1960's, female jazz musicians seem not to have been allowed to wear eyeglasses in photographs. Very few examples of eyeglass wearers in early jazz could be found by our research staff: James Reese Europe, Miff Mole, Charles “Doc" Cooke, Fudd Livingston and Frank Teschemacher. Questions arise: Were photograph-ees in general warned to take off their glasses to avoid reflections from the flash powder? Was wearing glasses considered “namby-pamby" enough that jazz players of that era felt compelled to take their glasses off? Is good eyesight part of a genetic constellation that also includes genes dominant for improvisation? No clear answer emerges. In any case, white or black, as the above photos show, there was remarkable consistency in the style of the eyeglasses, thus simplifying SAT of early jazzmen (Primus jazzus sapien). Assessing the next generation, we still see very few eyeglass “users." However, those who did were among the most well-known band leaders. Trombonists Tommy Dorsey and Glenn Miller led the way, along with Benny Goodman. This group-Swingus Jazzus Sapien-made a dramatic stylistic purge and massed around a new, wire-rimmed style. The Institute continues to research whether the domination of trombone players in this area reflects the relative difficulty of keeping a slide in focus. In any case, the stylistic consistency of the eyewear allows for easy SAT of this jazz sub-category. During the 1940's, Mr. Dizzy Gillespie's protean, nay, cavalier approach to eyewear seemed designed to deliberately throw The Institute's researchers into cataleptic fits. Gillespie opened up the floodgates for jazz musicians who felt that personal taste-including darkly tinted eyewear("sunglasses")-should be the sine qua non for eyewear, rather than the Institute's more reasonable, genre-specific approach.
Happily, there was more consistency among white jazz musicians. While it's difficult for the Institute to create a flowchart that would show definitively who originated styles and who followed, we can see a strong black horn-rimmed lineage running from Misters Gillespie and Monk to white jazz musicians who adopted the style post-WWII. We feel it is here that the confusion cited by Mr. Ian Carey is rooted.
Some adoptees of this style include Lee Konitz, Dave Brubeck and somewhat later, Bill Evans.
We at The Institute are confident of our methodology. So confident, in fact, that we believe the natural tendency to group these musicians together because of the similarity of their eyeglasses is well-founded and that the idea of wide stylistic differences between them is illusory. Our SAT analysis clearly shows that, not only is their music essentially congruent, they may actually be the same person. Is there a record of them all performing or recording together? We think not.
Next time: The Tell-Tale Cravat.
..."why is the Tristano school always shown as a branch of cool jazz? Those guys were hardcore bebop heads. Is it just that they were white and some of them wore glasses so people confuse them with Brubeck?" —Ian Carey
Mr. Carey, The Institute is here for you. Our first attempt at typology, utilizing shifting hair patterns, was primitive. Now, 6 months later, our staff has devised a truly scientific means of classifying jazz musicians in their proper schools, be it Traditional, Swing, West Coast, Bop, Cool, Hard Bop. Post-Bop, New Thing, Avant-Garde, Fusion, Retro. We call it: Spectacle Assessment Typology (SAT)*
*Please note the gender limitations of this process. Until the 1960's, female jazz musicians seem not to have been allowed to wear eyeglasses in photographs. Very few examples of eyeglass wearers in early jazz could be found by our research staff: James Reese Europe, Miff Mole, Charles “Doc" Cooke, Fudd Livingston and Frank Teschemacher. Questions arise: Were photograph-ees in general warned to take off their glasses to avoid reflections from the flash powder? Was wearing glasses considered “namby-pamby" enough that jazz players of that era felt compelled to take their glasses off? Is good eyesight part of a genetic constellation that also includes genes dominant for improvisation? No clear answer emerges. In any case, white or black, as the above photos show, there was remarkable consistency in the style of the eyeglasses, thus simplifying SAT of early jazzmen (Primus jazzus sapien). Assessing the next generation, we still see very few eyeglass “users." However, those who did were among the most well-known band leaders. Trombonists Tommy Dorsey and Glenn Miller led the way, along with Benny Goodman. This group-Swingus Jazzus Sapien-made a dramatic stylistic purge and massed around a new, wire-rimmed style. The Institute continues to research whether the domination of trombone players in this area reflects the relative difficulty of keeping a slide in focus. In any case, the stylistic consistency of the eyewear allows for easy SAT of this jazz sub-category. During the 1940's, Mr. Dizzy Gillespie's protean, nay, cavalier approach to eyewear seemed designed to deliberately throw The Institute's researchers into cataleptic fits. Gillespie opened up the floodgates for jazz musicians who felt that personal taste-including darkly tinted eyewear("sunglasses")-should be the sine qua non for eyewear, rather than the Institute's more reasonable, genre-specific approach.
Happily, there was more consistency among white jazz musicians. While it's difficult for the Institute to create a flowchart that would show definitively who originated styles and who followed, we can see a strong black horn-rimmed lineage running from Misters Gillespie and Monk to white jazz musicians who adopted the style post-WWII. We feel it is here that the confusion cited by Mr. Ian Carey is rooted.
Some adoptees of this style include Lee Konitz, Dave Brubeck and somewhat later, Bill Evans.
We at The Institute are confident of our methodology. So confident, in fact, that we believe the natural tendency to group these musicians together because of the similarity of their eyeglasses is well-founded and that the idea of wide stylistic differences between them is illusory. Our SAT analysis clearly shows that, not only is their music essentially congruent, they may actually be the same person. Is there a record of them all performing or recording together? We think not.
Next time: The Tell-Tale Cravat.
