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The next decade will be the most experimental, most "One danger in formal training for a jazz musician is that he will become rigidly bound by it, and be afraid to try things. But this is not inevitable. Most men pick and choose from what they have learned formally." One of the most interesting aspects of the jazzman's self-consciousness, Hentoff stated, was that apparently "the bulk of jazz repertoire is not going to be variations and improvisations of Jerome Kern or George Gershwin, but rather an indigenous set of jazz compositions." Outlet: For Hostilities These works, he said, reflect a kind of "Pan-Afro-American Nationalism," and are providing an outlet for the tensions and hostilities felt by the musicians. The protest content of the music, he felt, was bound to increase. "I'm glad this in finally bursting out, I would rather it were out than festering. It will be a healthy thing for jazz." Hentoff called most jazz critics "amateurish" and "incompetent." "It's an easy cop-out for a jazzman to say a critic doesn't know what's he doing, because he's right." For relaxation, said Hentoff, "I listen to chamber music at home."
"One danger in formal training for a jazz musician is that he will become rigidly bound by it, and be afraid to try things. But this is not inevitable. Most men pick and choose from what they have learned formally." One of the most interesting aspects of the jazzman's self-consciousness, Hentoff stated, was that apparently "the bulk of jazz repertoire is not going to be variations and improvisations of Jerome Kern or George Gershwin, but rather an indigenous set of jazz compositions." Outlet: For Hostilities These works, he said, reflect a kind of "Pan-Afro-American Nationalism," and are providing an outlet for the tensions and hostilities felt by the musicians. The protest content of the music, he felt, was bound to increase. "I'm glad this in finally bursting out, I would rather it were out than festering. It will be a healthy thing for jazz." Hentoff called most jazz critics "amateurish" and "incompetent." "It's an easy cop-out for a jazzman to say a critic doesn't know what's he doing, because he's right." For relaxation, said Hentoff, "I listen to chamber music at home."
"One danger in formal training for a jazz musician is that he will become rigidly bound by it, and be afraid to try things. But this is not inevitable. Most men pick and choose from what they have learned formally." One of the most interesting aspects of the jazzman's self-consciousness, Hentoff stated, was that apparently "the bulk of jazz repertoire is not going to be variations and improvisations of Jerome Kern or George Gershwin, but rather an indigenous set of jazz compositions." Outlet: For Hostilities These works, he said, reflect a kind of "Pan-Afro-American Nationalism," and are providing an outlet for the tensions and hostilities felt by the musicians. The protest content of the music, he felt, was bound to increase. "I'm glad this in finally bursting out, I would rather it were out than festering. It will be a healthy thing for jazz." Hentoff called most jazz critics "amateurish" and "incompetent." "It's an easy cop-out for a jazzman to say a critic doesn't know what's he doing, because he's right." For relaxation, said Hentoff, "I listen to chamber music at home."
"One danger in formal training for a jazz musician is that he will become rigidly bound by it, and be afraid to try things. But this is not inevitable. Most men pick and choose from what they have learned formally." One of the most interesting aspects of the jazzman's self-consciousness, Hentoff stated, was that apparently "the bulk of jazz repertoire is not going to be variations and improvisations of Jerome Kern or George Gershwin, but rather an indigenous set of jazz compositions." Outlet: For Hostilities These works, he said, reflect a kind of "Pan-Afro-American Nationalism," and are providing an outlet for the tensions and hostilities felt by the musicians. The protest content of the music, he felt, was bound to increase. "I'm glad this in finally bursting out, I would rather it were out than festering. It will be a healthy thing for jazz." Hentoff called most jazz critics "amateurish" and "incompetent." "It's an easy cop-out for a jazzman to say a critic doesn't know what's he doing, because he's right." For relaxation, said Hentoff, "I listen to chamber music at home."
"One danger in formal training for a jazz musician is that he will become rigidly bound by it, and be afraid to try things. But this is not inevitable. Most men pick and choose from what they have learned formally." One of the most interesting aspects of the jazzman's self-consciousness, Hentoff stated, was that apparently "the bulk of jazz repertoire is not going to be variations and improvisations of Jerome Kern or George Gershwin, but rather an indigenous set of jazz compositions." Outlet: For Hostilities These works, he said, reflect a kind of "Pan-Afro-American Nationalism," and are providing an outlet for the tensions and hostilities felt by the musicians. The protest content of the music, he felt, was bound to increase. "I'm glad this in finally bursting out, I would rather it were out than festering. It will be a healthy thing for jazz." Hentoff called most jazz critics "amateurish" and "incompetent." "It's an easy cop-out for a jazzman to say a critic doesn't know what's he doing, because he's right." For relaxation, said Hentoff, "I listen to chamber music at home."
"One danger in formal training for a jazz musician is that he will become rigidly bound by it, and be afraid to try things. But this is not inevitable. Most men pick and choose from what they have learned formally." One of the most interesting aspects of the jazzman's self-consciousness, Hentoff stated, was that apparently "the bulk of jazz repertoire is not going to be variations and improvisations of Jerome Kern or George Gershwin, but rather an indigenous set of jazz compositions." Outlet: For Hostilities These works, he said, reflect a kind of "Pan-Afro-American Nationalism," and are providing an outlet for the tensions and hostilities felt by the musicians. The protest content of the music, he felt, was bound to increase. "I'm glad this in finally bursting out, I would rather it were out than festering. It will be a healthy thing for jazz." Hentoff called most jazz critics "amateurish" and "incompetent." "It's an easy cop-out for a jazzman to say a critic doesn't know what's he doing, because he's right." For relaxation, said Hentoff, "I listen to chamber music at home."
"One danger in formal training for a jazz musician is that he will become rigidly bound by it, and be afraid to try things. But this is not inevitable. Most men pick and choose from what they have learned formally." One of the most interesting aspects of the jazzman's self-consciousness, Hentoff stated, was that apparently "the bulk of jazz repertoire is not going to be variations and improvisations of Jerome Kern or George Gershwin, but rather an indigenous set of jazz compositions." Outlet: For Hostilities These works, he said, reflect a kind of "Pan-Afro-American Nationalism," and are providing an outlet for the tensions and hostilities felt by the musicians. The protest content of the music, he felt, was bound to increase. "I'm glad this in finally bursting out, I would rather it were out than festering. It will be a healthy thing for jazz." Hentoff called most jazz critics "amateurish" and "incompetent." "It's an easy cop-out for a jazzman to say a critic doesn't know what's he doing, because he's right." For relaxation, said Hentoff, "I listen to chamber music at home."
"One danger in formal training for a jazz musician is that he will become rigidly bound by it, and be afraid to try things. But this is not inevitable. Most men pick and choose from what they have learned formally."
One of the most interesting aspects of the jazzman's self-consciousness, Hentoff stated, was that apparently "the bulk of jazz repertoire is not going to be variations and improvisations of Jerome Kern or George Gershwin, but rather an indigenous set of jazz compositions."
Outlet: For Hostilities
These works, he said, reflect a kind of "Pan-Afro-American Nationalism," and are providing an outlet for the tensions and hostilities felt by the musicians. The protest content of the music, he felt, was bound to increase.
"I'm glad this in finally bursting out, I would rather it were out than festering. It will be a healthy thing for jazz."
Hentoff called most jazz critics "amateurish" and "incompetent." "It's an easy cop-out for a jazzman to say a critic doesn't know what's he doing, because he's right."
For relaxation, said Hentoff, "I listen to chamber music at home."
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