Dear Colin,
he does some remarks in one of the interviews with JOnathan Cott.
about Lenie Tristano if I'm not wrong.
Colin Smithers escribió:
Dear All,
I'm very interested to learn about Glenn Gould's views on jazz, and,
in particular, on the jazz pianists contemporaneous with himself. I
would imagine (and seem in fact to recall reading somewhere) that he
was not especially keen on the whole genre, perhaps because of the
improvisatory qualities normally inherent therein. Those qualities
would seem to go quite against his often rather rigorous
(conservative?) stance towards musical structure and argument, his
evincing a particular disregard towards the ornamental digressions
and frivolities of such a composer as Chopin, for instance, who's own
often 'improvisatory' style he perhaps felt detracted from far more
important musical considerations such as long-range tonal tensions,
thematic development, and counterpoint, of course. And those are
aspects of music which are not associated with jazz, necessarily!
But, on the other hand, perhaps the single most characteristic thing
about fugues, say (which Gould felt, I think, in Bach's hands at
least, to contain the most exciting possibilities for musical
argument of any form), is surely their distinctive improvisatory
quality! More accurately, the variegated ways in which they could
take just one single idea (in most cases), and expose it to a myriad
of different contexts without, crucially, any true structural
underpinnings (as opposed to the treatment of themes in sonata form,
for instance). And therein lies the paradox, it seems, where Gould is
concerned. I just wonder whether he felt that the improvisatory
qualities found in fugues, for instance, and that found in jazz, was
really all that different in certain important respects. And if so,
how? I use that as a rather specific example, but I would love to
hear people's views on and insights into Gould's feelings generally
towards jazz.
Best wishes to all,
Colin Smithers
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