Re: <nettime> Indigenous IPR (was: Re: <nettime> Dark Markets: Whose Democracy?)

[eyescratch� <eyescratch@terminal.cz>]

Spaghetti is based on the Chinese noodle. I think both partake of the
spoils because they to a certain extent lived the recipe. But perhaps it's
a loop-hole wide enough for you to slip through, China being communist and
all. Bon Appetit.

You are getting caught up in the wrong notion of cultural capital.  What
people are seeking is a way to partake in the exchange of knowledge. It
lies in the ability to play jazz. Many jazz musicians have said that Bach
influenced them greatly. The mathematics behind Bach is what makes for new
music jazz. That and a whole lot of atmosphere. Jazz is galactic. At the
Cologne academy of music, part of the curriculum for jazz study is the
transcription of Charlie Parker solos, they don't just shove the chord
changes into a computer and press play, they treat it historically. You
saw noise come out of Japan because of the proliferation of Charlie Parker
Records in caf=E9s. There are musicians on this list who can talk about
the more poignant moments and repercussions in jazz but here is something
on the newsstands now - _All About Jazz_:

George Coleman, saxophonist: I left Chicago in March 1958 and joined Max
at the Craford Grill in Pittsburgh. At the time the group was a quartet
consisting of Kenny Dorham on trumpet, Nelson Boyd on bass, Max on drums,
and myself on tenor. Later the group became a quintet with Ray Draper on
tuba, Booker Little on trumpet and Art Davis on bass. We all had the
freedom to write and arrange, and were encouraged by Max to do so. In 1958
we made _Max Roach in Newport_.  It was noted for some of the fastest
tempos ever recorded on drums, and we had to meet the challenge. Booker
and I were primary soloists;  we played long solos, and Max's energy was
astonishing. After our long choruses, he would come in and play a long
drum solo. During that time period Max was the innovator of the waltz in
jazz. From what I understand he was the first to employ 3/4 time in jazz.

	I attribute my technique to answering the challenge of all these
uptempo tunes. Even though we had no keyboard, our harmonies were still
precise. We still had to play the changes. In my estimation, all the
drummers in the world, living or dead, showed the greatest respect for Max
Roach as do I.

Phil Schaap, jazz historian/WKCR radio host: Max is a music lesson.  When
I was a child, "Papa Jo" Jones was my teacher and babysitter, and I saw
Max at Jo Jones' house. I didn't know if Max noticed me at all, but I saw
that he was a very strong-willed individual so I minded my Ps and Qs. Max
eventually discovered that the kid at Jo Jones' house every day was
actually the same kid every day, and then he added to my education as Jo
Jones had done. He also gave me his version of Jo Jones, and made me know
more about Jazz.

	In my estimation the reason why Max plays with musical force is
because he has blended perfect drum accompaniment with a compositional
vision that made the pieces so much more. Like Billy Holiday's singing,
Max's playing supersedes what was originally there. For instance, in the
_Birth of the Cool_ sessions Max plays on Gil Evans' arrangement of
"Moondreams". Max is restricted by the composition, yet he flavors it in a
way that draws the drama to a peak performance. He shows how to play the
piece in the future, and how to play in general.

Nat Hentoff, writer: I remember at a memorial for "Papa Jo" Jones, Max
told a story about playing in a club and seeing Papa Jo in the audience.
Max knew Papa Jo was checking him out, so he played as if he had 40 hands.
Afterwords Max went up to Papa Jo, and Papa Jo said, "All I could hear was
your watch." It tells a lot about Max that he told that story on himself!

	We recorded _We Insist: Max Roach's Freedom Now Suite_ together in
1960, which was the first full-scale work that stated how people felt at
the time. Max knew how to make people work together, and he coordinated it
all without being imperious. Max always said that jazz is an essential
paradigm for constitutional democracy. In jazz each individual has a
voice, but in order for it to work the individuals must listen to each
other, and this is the definition of democracy. It's funny because there
is now a professor in Utah who is writing a thesis about this, but it's
something Max knew long ago.

Why should peoples have to play the part of the victim in order to receive
due compensation for their ideas and indeed their way of life? That is the
way of shutting them out of the discourse - not to say that reparations
shouldn't be made for the evils committed against them. And no, not
everyone wants to be a philistine, that's why they form collectives in the
first place. There is even resistance against official collectivization
around land because of taxes levied against such inscriptions of
ownership, yet culture lives in this space none the less. Pushing them
into the role of the victim defers their own self-determination and is
just one of the great evils lurking in quid pro quo thinking.

:: 7 Lamat 1 Cumku ::
http://www.tortuga.com/calendar/moon03.gif
http://www.tortuga.com/rinri/wizards/begin1.PDF
http://www.beyondthedoor.co.uk/gate/jenkins.htm
http://rahelio.homestead.com/Harmonic_Convergence.html
http://webexhibits.org/calendars/calendar-mayan.html
http://www.pauahtun.org/tools.html

Thursday October 31:
=46reedom Now & Then: The Music of Max Roach
with Ali Jackson and special guest Billy Hart and Jow Chambers
Stanley H. Kaplan Penthouse 8pm $45
165 West 65th Street
(Between Amsterdam Ave and Broadway, tenth floor)
(212-875-5400)
Subway: 1, 9 to 66th Street-Lincoln Center
http://www.lincolncenter.org
http://allaboutjazz.com
http://www.jodi.org/robots.txt



=C0 11:07 AM +0100 le 10/15/02, Richard Sewell a =E9crit:
>Let me try to make some wider context here.
>
>Most knowledge is not property. Our collective strength as a species 
>lies in our vast common storehouse of knowledge. We know about 
>shoes, pasta, electric light, newsgroups, jokes, net art, and 
>domesticated animals. By default, new knowledge becomes common, and 
>is part of our shared wealth. That's a good thing, not 'pilfering'. 
>Without it, we would all be poorer in a million ways.
>
>A tiny, tiny fraction of all our knowledge is currently treated as 
>property - new works of particular types (books, movies, 
>inventions). The point of deeming them property is to reward the 
>effort of their creation, to produce the conditions where creation 
>is economically possible.
>
>I think you're arguing from the position that knowledge is 
>necessarily property and deserves compensation. I think the real 
>question is, should we create a brand-new kind of intellectual 
>property, a new exception to the rule that knowledge is free to 
>share, and if we do how would we avoid the spaghetti tax ?
>
>R.
>




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