The jazz solo as virtuous act

• Autores: Stefan Caris Love
• Localización: Journal of aesthetics & art criticism, ISSN-e 1540-6245, ISSN 0021-8529, Vol. 74, Nº 1, 2016, págs. 61-74
• Idioma: inglés
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• Resumen

  • This article presents a new aesthetic of the improvised jazz solo, an aesthetic grounded in the premise that a solo is an act indivisible from the actor (the soloist) and the context. The solo's context includes the local and large-scale conventions of jazz performance as well as the soloist's other work. The theme on which a solo is based serves not as a “work,” but as part of the solo's stylistic context. Knowledge of this context inheres directly into proper apprehension of the musical surface; it does not constitute a separate plane of appreciation. I begin by examining the improvisational error. This examination supports the position that the solo is an act, not a work. From this position, I detail a new aesthetic of the improvised solo, grounded in the soloist's virtues. In a successful solo, the soloist's actions display a balance of two aesthetic “virtues”: compositional skill and a commitment to the spirit of improvisation. Compositional skill manifests in a solo as coherence. The improvisational spirit manifests as courage, spontaneity, and related qualities. These virtues often come into conflict; each soloist negotiates this conflict differently.