{"id":2528,"date":"2011-09-15T08:00:00","date_gmt":"2011-09-15T06:00:00","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=2528"},"modified":"2016-09-19T11:51:41","modified_gmt":"2016-09-19T09:51:41","slug":"anthony-braxton-y-el-jazz","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/anthony-braxton-y-el-jazz\/","title":{"rendered":"Anthony Braxton y el &quot;jazz&quot;"},"content":{"rendered":"<table cellpadding=\"0\" cellspacing=\"0\">\n<tbody>\n<tr>\n<td><a href=\"http:\/\/1.bp.blogspot.com\/--NyYt2-AKFM\/TnAMZInaVvI\/AAAAAAAADYA\/w1iab9eNTo0\/s1600\/AnthonyBraxton.jpg\" imageanchor=\"1\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" border=\"2\" height=\"300\" src=\"http:\/\/1.bp.blogspot.com\/--NyYt2-AKFM\/TnAMZInaVvI\/AAAAAAAADYA\/w1iab9eNTo0\/s320\/AnthonyBraxton.jpg\" width=\"200\" alt=\"\" title=\"\"><\/a><\/td>\n<\/tr>\n<tr>\n<td>\n<span>\u00a9\u00a0<\/span><span><span>Carolyn Wachnicki<\/span><\/span>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<blockquote><p>\u00abjazz\u00bb is the word that&#8217;s used to delineate the parameters that African-Americans are allowed to function in, a \u00absanctioned\u00bb zone. That&#8217;s what \u00abjazz\u00bb is. \u00abJazz\u00bb is the name of the political system that controls and dictates African-Americans information dynamics (and also the European or trans-European information dynamics that come in that particular zone)&#8230;<br \/>But the whole thing is&#8230; I mean, it&#8217;s taken for granted that a European or European-American jazzz musician has borrowed some aspects of African-American languaje: why should it be such a big thing that I&#8217;ve learned from Europe? I&#8217;m a human being, just like <b>Ronnie Scott<\/b> or <b>Derek Bailey<\/b>. Why is it so natural for <b>Evan Parker<\/b>, say, to have an appreciation of <b>Coltrane<\/b>, but for me to have an appreciation of <b>Stockhausen <\/b>is somehow out of the natural order of human experience? I see it as racist.<\/p><\/blockquote>\n<p><span>\u00a0<\/span>Anthony Braxton<\/p>\n<p>Publicado originalmente en\u00a0<i>Forces in Motion. The Music and Thoughts of Anthony Braxton<\/i>. Graham Lock. Da Capo Press. 1988. Citado en <i>Blutopia. Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington, and Anthony Braxton<\/i>. Graham Lock. Duke University Press. 1999<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00a9\u00a0Carolyn Wachnicki \u00abjazz\u00bb is the word that&#8217;s used to delineate the parameters that African-Americans are allowed to function in, a \u00absanctioned\u00bb zone. That&#8217;s what \u00abjazz\u00bb is. \u00abJazz\u00bb is the name of the political system that controls and dictates African-Americans information dynamics (and also the European or trans-European information dynamics that<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/anthony-braxton-y-el-jazz\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"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":[1],"tags":[6637,16099,77,16100],"class_list":["entry","author-pachi","post-2528","post","type-post","status-publish","format-standard","category-uncategorized","tag-duke-ellington","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":22993,"url":"https:\/\/tomajazz.com\/web\/pat-metheny-the-way-up-to-maximalism-interview-by-arturo-mora\/","url_meta":{"origin":2528,"position":0},"title":"Pat Metheny: the way up to maximalism. 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