{"id":15084,"date":"2014-10-31T12:19:49","date_gmt":"2014-10-31T11:19:49","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=15084"},"modified":"2018-05-04T11:41:50","modified_gmt":"2018-05-04T09:41:50","slug":"un-kind-of-blue-uw-sin-alma-ni-color","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/un-kind-of-blue-uw-sin-alma-ni-color\/","title":{"rendered":"Un <i>Kind of Blue<\/i> sin alma ni color, por Jes\u00fas Gonzalo"},"content":{"rendered":"<figure id=\"attachment_15139\" aria-describedby=\"caption-attachment-15139\" style=\"width: 200px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-15139\" src=\"http:\/\/www.tomajazz.com\/web\/wp-content\/uploads\/2014\/10\/mopdtk-blue-cover-200x180.jpg\" alt=\"Mostly Other People Do the Killing: Blue. Hot Cup Records (2014)\" width=\"200\" height=\"180\" title=\"\"><figcaption id=\"caption-attachment-15139\" class=\"wp-caption-text\">Mostly Other People Do the Killing: <i>Blue<\/i>. Hot Cup Records (2014)<\/figcaption><\/figure>\n<p style=\"text-align: justify\">Esto no es una rese\u00f1a de un disco. Para que lo fuera tendr\u00eda que haber m\u00fasica. Lo que el lector tiene delante es un an\u00e1silis de una obra conceptual. El objeto que nos ocupa forma parte del llamado \u00abarte de acci\u00f3n\u00bb, en este caso representar algo vivo que muere al ser representado. Es, para entendernos, una \u00abperformance\u00bb que dura lo que dura el disco original de Miles Davis: en torno a los 45 minutos y 4 segundos, dependiendo de la edici\u00f3n. Ese es el tiempo que conforma lo que por todos es considerado \u00a0\u00abun cl\u00e1sico\u00bb de creatividad y belleza irrepetibles, un trabajo que pertenece y est\u00e1 inserto en la memoria colectiva de nuestra civilizaci\u00f3n como lo puedan estar los Beatles o Bob Dylan, porque tras de s\u00ed todo cambi\u00f3, alumbrando dentro y fuera del g\u00e9nero que lo hizo posible.<\/p>\n<p style=\"text-align: justify\">\u00abNo existen nuevos comienzos para el arte\u00bb, <strong>George Steiner<\/strong> abre as\u00ed su riguroso y l\u00facido ensayo <em>Gram\u00e1ticas de la Creaci\u00f3n<\/em>. Esta versi\u00f3n de\u00a0MOPDTK \u00a0no es una ni una re-visi\u00f3n ni una interpretaci\u00f3n, sino una lectura milim\u00e9trica del original. Lo que pretende es, justamente, sentenciar la obra, despojarla de lo que m\u00e1s la define, que es su sonido, el clima, el espacio, lo intangible, su significado, para reducirla a un ejercicio intelectual y t\u00e9cnico-virtuoso, un desaf\u00edo, una competici\u00f3n, un trabajo de cirug\u00eda en el que se disecciona cada instante, cada una de sus melod\u00edas, solos y detalles peque\u00f1os que la han hecho grande: le roba el alma para dejarla en su significante musical.<\/p>\n<p style=\"text-align: justify\">Dec\u00eda<strong>\u00a0Picasso <\/strong>que \u00abel arte es una mentira que nos hace darnos cuenta de la verdad\u00bb. Una reflexi\u00f3n que otro gran maestro del siglo XX como<strong> Orson Welles <\/strong>llev\u00f3 al cine en la genial y poco conocida obra <em>F for Fake <\/em>(1975), donde, tras haber cometido su propio \u00abfraude\u00bb con la versi\u00f3n radiof\u00f3nica de <em>La guerra de Los Mundos <\/em>(1938), haciendo uso de una gran destreza pl\u00e1stica y avanzada\u00a0edici\u00f3n de im\u00e1genes, Welles recorre los pasos de un famoso falsificador de arte. Y&#8230;\u00bfverdadero, falso, r\u00e9plica?<\/p>\n<p style=\"text-align: justify\">MOPDTK, posicion\u00e1ndose en la frontera entre el pop art y la posmodernidad hecha con rigor (menos mal), ya hab\u00eda tratado esta idea de la r\u00e9plica, del clonar im\u00e1genes de cierto peso hist\u00f3rico en sus portadas. Intentaban quiz\u00e1 con ello enterrar el concepto de obra maestra que conllevan las fotograf\u00edas del <strong><em>K\u00f6ln Concert<\/em><\/strong> de Keith Jarrett en\u00a0<em>The Coimbra Concert<\/em> (2012),<strong>\u00a0<em>Out of the Afternoon<\/em> <\/strong>de\u00a0Roy Haynes en <em>Forty Fort<\/em> (2010) y <strong><em>This is our music<\/em><\/strong> de Ornette Coleman en <em>This is Our Moosic<\/em> (2008). Una <em>performance<\/em> hecha imagen y protagonizada por todo el grupo, los cuatro, que ahora han duplicado en sonidos con <strong><em>Kind of Blue<\/em><\/strong>.<\/p>\n<p>&nbsp;<\/p>\n<figure style=\"width: 650px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/images.popmatters.com\/news_art\/o\/ostotherpeopledothekilling_blueinterview_splash650.jpg\" alt=\"\" width=\"650\" height=\"400\" title=\"\"><figcaption class=\"wp-caption-text\">MOPDTK Fotograf\u00eda: \u00a9 Bryan Murray<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify\">Disponiendo de pocas oportunidades de ser promovido en directo (mejor ser\u00eda una instalaci\u00f3n en el MOMA, aunque la imagen superior lo desmienta), con a\u00fan menos \u00e9xito de venderse como producto discogr\u00e1fico,\u00a0<em><strong>Blue <\/strong><\/em>es simplemente arte conceptual, consecuencia de una postura\u00a0trasgresora que entierra los pilares creativos de no repetirse del jazz. El\u00a0jazz y su conciencia ninguneadas, replicadas&#8230;. Aqu\u00ed lo importante no es qu\u00e9 vamos a decir nuevo hoy, sino que lo que se dice ya se dijo y vamos a intentar repetirlo palabra por palabra. Un trabajo propio de ni\u00f1os prodigio: transcribir y luego reproducir nota a nota, entonaci\u00f3n a entonaci\u00f3n, golpe a golpe de bater\u00eda.<\/p>\n<p style=\"text-align: justify\"><em><strong>Kind of Blue<\/strong> <\/em>al completo pero envasado al vac\u00edo, sin alma, sin el aliento de sus hacedores&#8230;Una radiograf\u00eda desnuda.\u00a0Esto o es una inocentada propia de genios que a\u00fan gustan de presumir de inteligencia frente al espejo o encubre una lecci\u00f3n a todos aquellos que pretenden aprenderse de memoria los solos de los gigantes sin encontrarse a s\u00ed mismos. Juzguen ustedes.<\/p>\n<p style=\"text-align: right\"><strong>\u00a9 Jes\u00fas Gonzalo, 2014<\/strong><\/p>\n<p><strong>Mostly Other People do the Killing:\u00a0<em><strong>BLUE<\/strong><\/em><\/strong><\/p>\n<p><strong>M\u00fasicos:\u00a0<\/strong><strong>Peter Evans: <\/strong>trompeta<strong>; Jon Irabagon: <\/strong>saxo alto y tenor<strong>; Ron Stabinsky: <\/strong>piano<strong>;\u00a0<\/strong><strong>Moppa \u00a0 Elliott: <\/strong>bajo<strong>; Kevin Shea: <\/strong>bater\u00eda<strong>.<\/strong><\/p>\n<p><strong>Lista de temas:<\/strong>\u00a0\u00abSo What\u00bb; \u00abFreddie Freeloader\u00bb; \u00abBlue in Green\u00bb; \u00abAll Blues\u00bb; \u00abFlamenco \u00a0 \u00a0 \u00a0 Sketches\u00bb.<\/p>\n<p><strong>Sello discogr\u00e1fico<\/strong>: <a title=\"View Hot Cup Records page at Jazz Near You\" href=\"http:\/\/usa.jazznearyou.com\/entity.php?id=6421\" target=\"_blank\" rel=\"noopener\">Hot Cup Records<\/a><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Esto no es una rese\u00f1a de un disco. Para que lo fuera tendr\u00eda que haber m\u00fasica. Lo que el lector tiene delante es un an\u00e1silis de una obra conceptual. El objeto que nos ocupa forma parte del llamado \u00abarte acci\u00f3n\u00bb, en este caso representar algo vivo que muere al ser representado. Es, a fin de cuentas y para entendernos, una \u00abperformance\u00bb que dura lo que dura el disco original de Miles Davis: en torno a los 45 minutos y 4 segundos, dependiendo de la edici\u00f3n. Ese es el tiempo que conforma lo que por todos es considerado  \u00abun cl\u00e1sico\u00bb de creatividad y belleza irrepetibles, un trabajo que pertenece y est\u00e1 inserto en la memoria colectiva de nuestra civilizaci\u00f3n como lo puedan estar los Beatles o Bob Dylan, porque tras de s\u00ed todo cambi\u00f3, alumbrando dentro y fuera del g\u00e9nero que lo hizo posible.<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/un-kind-of-blue-uw-sin-alma-ni-color\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1003354,"featured_media":15139,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17857,78,15504,5,13061,9,1038],"tags":[472,12651,11191,12696,5490,13,12415,15295,8077,196,982,5491,2004,198,208,1200,10840,5508,197,7228,2166,16099,77,16100],"class_list":["entry","author-jesusgonzalo","has-excerpt","post-15084","post","type-post","status-publish","format-standard","has-post-thumbnail","category-jesus-gonzalo","category-afondo","category-articulos-afondo","category-grabaciones","category-ornette-coleman-gracias-maestro","category-perfiles","category-contenidos","tag-bryan-murray","tag-cd","tag-george-steiner","tag-grabaciones","tag-hot-cup-records","tag-jazz","tag-jazz-en-espana","tag-jazz-en-espanol","tag-jesus-gonzalo","tag-jon-irabagon","tag-keith-jarrett","tag-kevin-shea","tag-miles-davis","tag-moppa-elliott","tag-mostly-other-people-do-the-killing","tag-ornette-coleman","tag-orson-welles","tag-pablo-picasso","tag-peter-evans","tag-ron-stabinsky","tag-roy-haynes","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/10\/mopdtk-blue-cover-e1421362223371.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":16410,"url":"https:\/\/tomajazz.com\/web\/mostly-other-people-do-the-killing-blue-hot-cup-records-2014\/","url_meta":{"origin":15084,"position":0},"title":"Mostly Other People Do The Killing: Blue (Hot Cup Records, 2014)","author":"Tomajazz","date":"16 enero, 2015","format":false,"excerpt":"A lo largo de la historia del jazz ha habido varios momentos cr\u00edticos (peleas a limpio guantazo incluidas entre defensores de distintos estilos), en los que se ha cuestionado su propia esencia a partir de cuestiones estil\u00edsticas, arm\u00f3nicas e incluso geogr\u00e1ficas. 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Tal y como sucede en\u2026","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2013\/02\/mopdtk_slippery_rock.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":8407,"url":"https:\/\/tomajazz.com\/web\/mostly-other-people-do-the-killing-red-hot-hot-cup-records-2013\/","url_meta":{"origin":15084,"position":2},"title":"Mostly Other People Do The Killing: Red Hot (Hot Cup Records, 2013)","author":"Tomajazz","date":"14 octubre, 2013","format":false,"excerpt":"Mostly Other People Do The Killing contin\u00faan realizando su particular recorrido por la historia del jazz. Si en su anterior disco Slippery Rock (Hot Cup Records, 2013) daban su visi\u00f3n sobre el jazz fusion, unos meses despu\u00e9s en Red Hot su l\u00edder y compositor Moppa Elliott vuelve la vista al\u2026","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2013\/10\/MOPDTK-Red-Hot.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":61213,"url":"https:\/\/tomajazz.com\/web\/mostly-other-people-do-the-killing-mopdtk-centralia-disasters-vol-1-hot-cup-records-2022-por-pachi-tapiz-jazzx5425-minipodcast-de-jazz\/","url_meta":{"origin":15084,"position":3},"title":"Mostly Other People Do The Killing MOPDTK: \u00abCentralia\u00bb [Disasters Vol. 1 (Hot Cup Records, 2022)] Por Pachi Tapiz. 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Mostly Other People Do the Killing. Shamokin!!! (Hot Cup Records, 2007)","rel":"","context":"En \u00abToma Jazz\u00bb","block_context":{"text":"Toma Jazz","link":"https:\/\/tomajazz.com\/web\/tag\/toma-jazz\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":61413,"url":"https:\/\/tomajazz.com\/web\/mostly-other-people-do-the-killing-disasters-vol-1-hot-cup-records-2022-por-pachi-tapiz-grabacion-de-jazz\/","url_meta":{"origin":15084,"position":5},"title":"Mostly Other People Do The Killing: Disasters Vol. 1 (Hot Cup Records, 2022) Por Pachi Tapiz [Grabaci\u00f3n de jazz]","author":"Tomajazz","date":"25 febrero, 2022","format":false,"excerpt":"Pachi Tapiz repasa Disasters Vol. 1 (Hot Cup Records, 2022) de Mostly Other People Do The Killing.","rel":"","context":"En \u00abGrabaciones...\u00bb","block_context":{"text":"Grabaciones...","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/textos\/grabaciones\/"},"img":{"alt_text":"Mostly Other People Do The Killing Disasters Vol. 1 MOPDTK.jpg","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/02\/Mostly-Other-People-Do-The-Killing-Disasters-Vol.-1-MOPDTK.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/02\/Mostly-Other-People-Do-The-Killing-Disasters-Vol.-1-MOPDTK.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/02\/Mostly-Other-People-Do-The-Killing-Disasters-Vol.-1-MOPDTK.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/02\/Mostly-Other-People-Do-The-Killing-Disasters-Vol.-1-MOPDTK.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/02\/Mostly-Other-People-Do-The-Killing-Disasters-Vol.-1-MOPDTK.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/02\/Mostly-Other-People-Do-The-Killing-Disasters-Vol.-1-MOPDTK.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/15084","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1003354"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=15084"}],"version-history":[{"count":24,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/15084\/revisions"}],"predecessor-version":[{"id":15227,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/15084\/revisions\/15227"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/15139"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=15084"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=15084"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=15084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}