Gary Giddins, a prominent figure in American music criticism, has released a comprehensive collection of essays that scrutinizes the state of jazz during a period of significant transition. Published by Oxford University Press, this 306-page volume, titled Rhythm-A-Ning \u2013 Jazz Tradition And Innovation, arrives at a moment when the jazz community is grappling with its own identity, caught between the reverence for historical masters and the push for modern experimentation. The central inquiry of the book\u2014whether the genre has simply "run out of geniuses"\u2014serves as a catalyst for a broader discussion on the sustainability of the art form and the quality of its contemporary practitioners.<\/p>\n
Giddins, primarily known for his long-standing column in the Village Voice, utilizes this collection to document the "consolidation" phase of the 1980s. The book is structured to provide both a historical lens and a real-time critique of the music scene as it unfolded between the late 1970s and the mid-1980s. By compiling these essays, Giddins offers a defense of the "accessibility of swing and melody" while simultaneously challenging the rise of commercialized "fusion" and what he characterizes as middle-brow posturing within the industry.<\/p>\n
The period covered in Rhythm-A-Ning is often defined by the "Young Lions" movement and a return to acoustic traditionalism, yet Giddins argues for a more inclusive definition of the era. He posits that the "jazz of the 80s" is not a monolith but a broad spectrum where disparate styles coexist. In his view, the era is defined as much by the stride piano of Joe Turner as it is by the avant-garde explorations of David Murray. This evenhandedness allows for a dialogue between the past and the present, suggesting that the health of the genre depends on its ability to maintain "uncompromising musical honesty."<\/p>\n
During this time, the jazz industry saw a significant shift in its economic and social standing. The 1980s marked the beginning of jazz\u2019s institutionalization, with increased support from academic programs and major cultural centers like Lincoln Center. However, this institutionalization brought about a fear of creative stagnation. Giddins\u2019 work addresses this anxiety directly, pricking the "skin of jazz" to distinguish between genuine innovation and the "sham" of commercial imitation.<\/p>\n
To understand the impact of Rhythm-A-Ning, it is necessary to examine the timeline of Gary Giddins\u2019 contributions to jazz literature and the specific milestones that led to this publication:<\/p>\n
The book\u2019s most daunting proposition\u2014the potential exhaustion of genius\u2014reflects a broader cultural concern of the 1980s. As the pioneers of bebop and swing reached the ends of their lives, the search for a "Jazz Messiah" became a recurring theme in critical circles. Giddins does not provide a definitive answer to whether such a figure exists, but he uses the search as a metric for quality.<\/p>\n
He identifies "uncompromising musical honesty" as the common thread among the musicians he admires, regardless of their stylistic camp. His essays on Roy Eldridge, Art Pepper, and Bill Harris highlight a commitment to the craft that transcends market trends. Conversely, his critique of the "fusion" movement is sharp. Giddins frequently attacks the genre for what he describes as "stuffed rhythms" and "runny intonation," specifically noting a decline in the work of established figures like Stan Getz when they veered toward more commercial, "middle-brow" sounds.<\/p>\n
Giddins\u2019 analytical prowess is most evident in his deep dives into individual careers. His treatment of Miles Davis is particularly noteworthy. While Giddins remains a staunch critic of the "fusion" aesthetics that Davis helped pioneer in the late 60s and 70s, he offers a surprisingly sympathetic view of Davis\u2019s 1980s output. This indicates a willingness to judge the music on its own terms rather than through the lens of historical purism.<\/p>\n
In contrast, his study of Lester Young, the legendary tenor saxophonist known as "Prez," seeks to correct historical narratives. Giddins identifies three distinct phases in Young\u2019s career, challenging the common critical consensus that Young\u2019s talent suffered a linear decline after his military service. Despite what some scholars describe as a "cavalier approach to discographical facts," Giddins\u2019 sensitive discussion of Young\u2019s stylistic evolution remains a highlight of the collection.<\/p>\n
The book also champions David Murray, a saxophonist who emerged in the 1970s as a bridge between the free jazz of the 60s and the structured swing of earlier eras. Giddins\u2019 advocacy for Murray serves as evidence for his thesis that the 1980s were a time of fruitful synthesis, where the avant-garde could finally find a footing within the broader tradition of jazz melody.<\/p>\n
The publication of Rhythm-A-Ning has several implications for the field of musicology and the jazz industry at large. First, it reinforces the role of the critic as a gatekeeper of "quality" in an era of digital and commercial expansion. Giddins\u2019 use of "wiry imagery" and "unselfconscious enthusiasm" provides a model for how to write about music that is both technically informed and accessible to a general audience.<\/p>\n
Secondly, the book highlights the ongoing tension between "tradition" and "innovation." By placing Pee Wee Erwin alongside Ornette Coleman, Giddins suggests that jazz is a continuum rather than a series of disconnected movements. This perspective has become increasingly important as the genre continues to diversify in the 21st century.<\/p>\n
At the time of its release, Rhythm-A-Ning entered a market where jazz literature was beginning to see a resurgence. <\/p>\n
While the book has been praised for its literacy and judgment, it has not been without its detractors. Some historians have pointed out minor inaccuracies in Giddins’ discographical references. Others have debated his theoretical stances, such as his assertion regarding Thelonious Monk\u2019s relationship with bebop. Giddins suggests Monk was indebted to the movement, while many scholars argue that the "High Priest of Bop" was an architect of the style whose influence flowed outward to his peers, rather than the other way around.<\/p>\n
Additionally, some critics have expressed regret over the exclusion of certain pieces, such as Giddins\u2019 memorial for Count Basie published in the Village Voice in June 1984. Given the book’s focus on the "consolidation" of the 80s, the absence of this tribute to one of the era\u2019s most significant losses is viewed by some as a missed opportunity for a more complete historical record.<\/p>\n
Rhythm-A-Ning remains a vital text because it captures the "prestidigitation" of the music as it was being made. Giddins\u2019 ability to describe the complex processes of musicians like Cecil Taylor\u2014even while admitting to being baffled by them\u2014aids in the public\u2019s understanding of the more challenging aspects of the genre. <\/p>\n
The book serves as a reminder that the "daunting questions" facing jazz are rarely answered by a single "messiah" or a specific stylistic breakthrough. Instead, as Giddins demonstrates, the health of the idiom is found in the ongoing, often messy, dialogue between its history and its future. By pricking the skin of the music and unmasking the sham, Giddins ensures that the focus remains where it belongs: on the search for beauty, swing, and uncompromising honesty.<\/p>\n","protected":false},"excerpt":{"rendered":"
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