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The technician that customized these WordPress sites is the invaluable Wayne Bremser (@wb).
Origin of DTG:
When the Bad Plus broke through in 2003 we were written about frequently in mainstream publications and supported by a major label. Today, deserving ensembles don’t seem to have that kind of opportunity. Online discussion might be one alternative. My dream is that DTG could help important talent get noticed for the right reasons.
Some are against what I heard Jason Moran call, “the reference game.” I understand that, especially for classic jazz. Charlie Parker never explained much, even denied influences, and offered epigrams like, “If you don’t live it, it won’t come out of your horn.”
However, in the postmodern era, context and reference seems to have taken on new importance. Jazz used to be a notion that was understood more or less to mean the same thing by everybody. Today that is not the case.
To draw on my own experience with the Bad Plus: in the early flush of mainstream press, there were very few reviewers that could articulate what the heck we were doing except, “They play rock covers!”
Finally, George Wein said to me, “You sound like Steve Reich!” Thank you, George, yes indeed, TBP was indebted to minimalism. The manager of Keith Jarrett, Steven Cloud, said, “You guys are like the Keith Jarrett American Quartet!” Thank you, Steve, yes, and can you please tell every jazz journalist to print that about us?
No one ever brought up my obvious appropriations of early Geri Allen, let alone the outright theft of certain ideas from peers Bill McHenry and Kurt Rosenwinkel. In retrospect, it probably would have taken musicians on the ground, not non-musician critics, to make those connections.
DTM has mostly been about solving the problems of jazz history. But I’ve also always liked going out and finding out what’s up. Truthfully, I still think hearing a good jazz gig in NYC is one of the coolest things to do. I’m curious to see what the younger generations have to say about what is going on.