Michael Missiras

not sure if it was mentioned but last month marked the 20 year passing of dear Woody Shaw--perhaps the last of the line of trumpet innovators in jazz.

i was lucky to know him during my 20 years in nyc and before; and learned much from him. that period of knowing and learning from Woody Shaw was from 78-84.

if you have not-please take a moment to pay homage to one of the greatest minds, in any genera of music, of the last century.

in my signature are my my space sites where you can hear my trumpet playing, read comments from some of todays greatest players in jazz, and learn a bit about me. if the links don`t work here, i think you can access them from my introduction in ec downloading.

Best,

Mike

Michael A. Missiras, Ph.D.
Tenured Professor of Music Emeritus
Minnesota State University
Teaching Fellow: Jazz Studies
Eastman School of Music
Visiting Professor of Media Studies
Utsunomiya University, Japan
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Brekelefuw

With all due respect, I really have to disagree that he is the last great innovator. There are people playing today that are really taking the horn physically and harmonically to different worlds because of Woody's (and the whole family tree of players) contributions, but I greatly disagree that the development of jazz trumpet stopped at him.

With that said, his passing was unfortunate, and his contributions to the music world are very much appreciated.

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After silence, that which comes nearest to expressing the inexpressible is music. ~Aldous Huxley

Michael Missiras

Well, I guess we`re all entitled to our opinions. Interesting that you do not mention any names.

Further, in order for me to see the validity of your statement, I would need emprirical evidence of your claim; in this case--syntactical references derived from transcribed solos; and hermanuetic references from sound; ie, gestural positing, articulation concepts (really more syntactic) ontological placement in jazz; use of time/space &c., &c., &c.

And of course the above would only be a start.

Without quantifiable data backing up your claims, it`s really just talk. Not even an informed opinion (slippery at best.)

But please, regardless of what your feelings may be, and from a holistic framework, perhaps take a moment to reflect upon Woody Shaw`s legion contributions to music at large.

Best,

Mike

Dr. Michael A. Missiras
Professor of Music Emeritus
Minnesota State University
Teaching Fellow: Jazz Studies
Eastman School of Music
Visiting Professor of Media Studies
Utsunomiya University, Japan
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TrentAustin

Here we go again.

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Brekelefuw

Which is why I am choosing not to respond, and I purposefully left names out of the original post.

__________________
Schilke B3L
Schilke XA1
Bach 37 180 ML
Chinese custom horn
Yamaha 6310G
Wedge 5B, 5A and 5FLG

After silence, that which comes nearest to expressing the inexpressible is music. ~Aldous Huxley

Michael Missiras

Wish both of you had been my students!! You would have been transcibing and analysing Woody`s solos for years--and I`m not talking about the silly stuff you see in magazines--I@m talking space/time/hermanuetics/syntactical/onto./hist. analysis. And from a comparative point of view--and you had better started with Lee Morgan!!

Hey Trent, what`s this about `taking the high ground` and `not bashing other trumpet players?` (quotes yours)

Unlike Burger King, you can`t have it `both` ways. Or maybe you can--who cares. i care about the music.

And what, precisely, is everyones issue with WS--it was true in his life (I was there) and now 20 yrs. later poor Woody is still the object of much controversey.

I think Woody dared to go `beyond.` No, not dared, he was compelled.

And the fact that other than Anders Bergcrantz, and a few other brave souls, nobody can really understand just exactly he did. I have transcribed many of his solos over many decades. It`s the same reason you don`t here major symphonies play contemporary music unless it`s of the watered down variety.

I can tell you, with all assurity, as a scholar (I`m published) in the analysis of post-tonal, dodachaphonic, set theory, Milton Babbitt`s furthering of Arnold Shoenberg 12 tone system--that what Woody played was, well, in that syntactical matrix.

One difference--his music swung.

There, I mentioned some white guys above like they had to do in the 50s when Black performers played on TV (saw a lot of Gerry MUlligan on TV and with no real role other than being white.)

Woody Shaw was what today would be called an ethnocentric man.

And for a man who had little centricity (usually) in his music--he was entitled to very bit of the prefixed `ethno.`

Best,

Mike

Dr. Michael A. Missiras
Professor of Music Emeritus
Minnesota State University
Teaching Fellow: Jazz Studies
Eastman School of Music
Visiting Professor of Media Studies
Utsunomiya University, Japan
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Brekelefuw

Just to clear it up: I have no problem with Woody's music. I love it and have plenty of his albums, as well as albums with him as a sideman.

__________________
Schilke B3L
Schilke XA1
Bach 37 180 ML
Chinese custom horn
Yamaha 6310G
Wedge 5B, 5A and 5FLG

After silence, that which comes nearest to expressing the inexpressible is music. ~Aldous Huxley

Ed Kennedy

Dr. Mike,

I have to admit that you are making sense to me. I'm not so sure that there is no one else out there pushing the envelope. However, your perspective on Woody is very interesting. BTW, out of curiousity, how did you you end up in the Great White North? (I'm guessing Moorhead State by he flood reference)

ED K U of M (Mpls) '70

Michael Missiras

Hi Ed--well, to answer your question, and in a word: money

also lots of funding for me to build a couple of electronic studios, start a film scoring program, gig with a bunch of really talented musicians/faculty, play lots of gigs...but as the years went on..and for a lot of very complicated personal reasons not the least my identity as a trumpet player, at least in my my own mind , and for me the only place it has truly ever mattered, I decided to leave academe. My adminsitration was wonderful in helping me to put a package together. Of course, as I said, I worked very hard for them so they, and to their credit, worked very hard for me when I told them that I wanted out-and early (50) I*m never going to be rich post working years, but maybe a bit saner and maybe even learn how to play the cornet properly in my waning years.

You know, decades ago--the great tenor player, Joe Henderson, when leaving NYC for the west coast; and was questioned as to his motivation to do such, said something to the effect, `...I just wanted to leave the scene gracefully...`

Kinda like me and academe--I did what I was hired to do--saw it implemented--saw new faculty being hired to work in said structure--and packed up what remained of my wits (and with a little help-see my other post) and split to Paris and Tokyo--two areas I had been cultivatinjg as performing and teaching areas for years before I left.

Of course like all good stories, somethings are said and others are for the reader to intuit.

rowuk

Just what we need, an intolerant acedemic, caught up in the past, blind to the present.

An open mind leads to a higher level of pleasure. Maybe two examples of inspirational players that kept moving after Woody: Ack van Rooyen and Randy Brecker. There are MANY, MANY more. We only need to want to listen without prejudice.

Innovation is not subjective. Only the appreciation of it.

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