How does an artist identify with an identifier like “avant-garde”?
When does he know his art is weird enough? When does he know it’s reaching its
goal (to be for the sake of being, or, conversely, to work for the cultural
good)? How many questions should it extract from the audience, and where should
it be performed? If you’re interested this stuff, head to Montreal, Quebec, for
one of the most beloved jazz festivals in the world. Experiencing jazz is a way
to answer questions.
There are hundreds of acts performing in downtown Montreal,
and there’s a massive center stage outdoors where the “main attractions”
perform. Some of the main attractions include “adult alternative” artists from
the states, Boz Scaggs, Bonnie Raitt, and Rufus Wainwright. These respected
musicians and musical leaders, even the lesser-known of them, represent the
kind of progress artists usually strive for; unfortunately, it’s with moody moderation.
Odd, but I don’t think breadth of musicality, a wide variety
of collaborations, down-played expertise, and sensuous experimentation necessarily
make music avant-garde; or maybe they do, but they don’t make it very exciting.
There’s no sweat in this music. All the same, Carbou has been in the business
for a long time, and has made an impression around the world as a culturally-advanced
musician.
So, if you want to chill out with a glass of wine and listen
to beautiful sounds while catching a sweet breeze under your nose, this
festival will fill your soul up like a rain bucket. If, however, you like your
jazz like a puddle that disperses at your feet, never to return to the same
spot on the road of life, this might be too sweet for your taste.
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