Woody Allen article

[brownie]

Long and interesting profile on Woody Allen in this week's Village Voice...

The Jazz Evangelism of Woody Allen

Edited June 3, 2010 by brownie

[papsrus]

Nice article. Thanks

[Tom Storer]

I remain skeptical. I mean, good for him for playing the music he likes, but the message of the article seems to be "What a rotten shame that jazz got all modern and difficult and stuff. Thank God Woody Allen is the keeper of the flame, single-handedly keeping New Orleans jazz from dying out entirely. Jazz owes him a great debt." I mean, puh-leeze.

Ethan Iverson also has some issues with the article, expressed in a Do the Math post. Among other things, he notes, "If I was a curious young black person who stumbled across their piece in the Voice today, I'd run away from jazz as fast as I could."

[papsrus]

Not to dismiss his thoughts, but I'm not sure why Iverson chooses to inject questions about race into a feature article about Allen's love for a narrow form of jazz. The article could not have addressed that question without running several pages longer or taking the risk of seeming dismissive.

While he may make a valid point about race, he seems to do so by way of picking nits.

Edited June 3, 2010 by papsrus

[kh1958]

It would have to be the slowest night ever for music in Manhattan before Woody Allen would be my selection.

[Larry Kart]

Iverson is a very smart, nice guy and a talented pianist, but IMO he needs to give his own racial guilt a rest. No doubt it's a terrible burden to have been born and reared in northwest Wisconsin, as Iverson was, but if I was a curious young black person who came across one of Iverson's posts of this sort (and IIRC there have been more than a few, notably part of his long and mostly valuable one about Lennie Tristano), I'd say, "Thanks but no thanks -- you're insulting my intelligence."

I mean, if you happen not to like Woody Allen as a filmmaker or otherwise (FWIW, I mostly don't), how much difference would it/should it make if the number of black musicians who worked on the soundtracks of Allen's movies were increased or more black actors appeared in his movies? He'd still be Woody Allen, unless Iverson has in mind a major sensibility transplant. Besides, the real problem here is Harry Allen -- and reparations for Gene Sedric.

[Tom Storer]

The article says a few things that are incontestable:

- Woody Allen plays music that he loves, New Orleans jazz.

- He doesn't claim to be any good at it.

- Lots of people go see him play because he is Woody Allen.

- Some of them are unfamiliar with the music and find that they enjoy it.

- "Allen is not jazz's savior—to say so would certainly mortify many people, most of all him."

Despite qualifications, certain other things are ridiculous:

"The only reason younger audiences get to see this music anymore is because of the celebrity of Woody Allen," Davis says.

his jazz-scene compatriots appreciate his unprecedented ability to interest people who never even knew they could be interested in it. To them, Allen is demonstrating the best chance jazz has for renewal—and survival.

"Woody Allen is a great artist, a profound artist," says Wilner. "He's a force on the music scene."

As for the race thing, I note that whenever a white musician or commentator brings up race, not in defense of white contributions but to recognize the role of the "black community," the tendency is to dismiss it as expressing "racial guilt." I think that's a simplistic response and not necessarily true. I certainly don't think Iverson's article insults anyone's intelligence (although it might call for one to exercise it). It is perhaps true that Iverson, a working jazz pianist and sometime classical pianist who admires, works with, writes about and interviews white and black practitioners of both worlds, occasionally talks about race because he is alert to its implications, observing and experiencing them as he does on a frequent basis.

Edited June 4, 2010 by Tom Storer

[Larry Kart]

The article says a few things that are incontestable:

- Woody Allen plays music that he loves, New Orleans jazz.

- He doesn't claim to be any good at it.

- Lots of people go see him play because he is Woody Allen.

- Some of them are unfamiliar with the music and find that they enjoy it.

- "Allen is not jazz's savior—to say so would certainly mortify many people, most of all him."

Despite qualifications, certain other things are ridiculous:

"The only reason younger audiences get to see this music anymore is because of the celebrity of Woody Allen," Davis says.

his jazz-scene compatriots appreciate his unprecedented ability to interest people who never even knew they could be interested in it. To them, Allen is demonstrating the best chance jazz has for renewal—and survival.

"Woody Allen is a great artist, a profound artist," says Wilner. "He's a force on the music scene."

As for the race thing, I note that whenever a white musician or commentator brings up race, not in defense of white contributions but to recognize the role of the "black community," the tendency is to dismiss it as expressing "racial guilt." I think that's a simplistic response and not necessarily true. I certainly don't think Iverson's article insults anyone's intelligence (although it might call for one to exercise it). It is perhaps true that Iverson, a working jazz pianist and sometime classical pianist who admires, works with, writes about and interviews white and black practitioners of both worlds, occasionally talks about race because he is alert to its implications, observing and experiencing them as he does on a frequent basis.

This is the beginning of Iverson's post:

"Appropriation without reparations? The major piece on Woody Allen's jazz evangelism in the Village Voice today raises some questions. I'm sure neither Allen or the writer Stacey Anderson is racist, but this article could have been improved by embracing the challenge of race rather than resolutely ignoring it (it's not brought up once)."

First, "I'm sure neither Allen or the writer Stacey Anderson is racist, but..." is a nice way to remind us that a court of heavy-duty social justice is in session here. Second, the opening sentence seems to me to set out Iverson's agenda -- when you appropriate, you must make reparations, or we will take you to task in that court of social justice for having failed to do so. In this respect, the Gene Sedric anecdote kind of takes the cake. He didn't travel to Sedric for lessons but Sedric came to his place? What other crimes against "the challenge of race" did the 17-year-old Allen commit?

As for insulting the intelligence, the thrust of the piece, again, seems to be "appropriations-reparations"; Allen and his ilk are appropriators (if not much worse -- the citation of that "black hole" line) and must pay the price. But I'm thinking that that young black person Iverson brought to the party at the end would be thinking, "This to you is the problem, and this is the answer?"

[Tom Storer]

"Appropriation" and "reparation" are strong terms. Personally, I think the issue only really comes up with a certain level of social impact. I suspect that Iverson's goat would not have been got except for the fact that great and unwarranted claims are made in the article re: Allen's unique ability to save the future of jazz, that and the fawning tone. If you're going to get publicity about what an important and influential jazz musician you are, and you are demonstrably lacking in virtually any connection to the music's history and practitioners other than your own record collection and supper-club band, then you're fair game for debunking. Personally, neither Allen nor the article make me angry, whereas Iverson seems rather vexed. But the points he makes are, I think, valid ones in evaluating the article and Allen's role in jazz.

[papsrus]

If you're ... demonstrably lacking in virtually any connection to the music's history and practitioners other than your own record collection and supper-club band, then you're fair game for debunking.

I don't think anyone should presume that because the issue of race was not raised in the article that Allen is "demonstrably lacking in virtually any connection to the music's history and practitioners. ..." etc.

He didn't write the article, after all.

[brownie]

Woody Allen made very good use of the music of Bubber Miley (playing superbly in Leo Reisman's 'What Is This Thing Called Love?') and Ben Webster/Art Tatum - among others - in the soundtracks of his films.

[paul secor]

Hannah and Her Sisters has a scene with Woody Allen browsing through the jazz racks in a record store.

Haven't read the article, but I doubt that Woody Allen would claim to be anything more than an amateur musician who's lucky enough to have a weekly gig.

[Guy Berger]

Haven't read the article, but I doubt that Woody Allen would claim to be anything more than an amateur musician who's lucky enough to have a weekly gig.

"I'm not just saying this to be amusing: To be even as bad as I am, you do have to practice every day," says Allen, with a small, almost imperceptible chuckle. "I'm a strict hobby musician. I don't have a particularly good ear for music. I'm a very poor musician, like a Sunday tennis player." ... "If I don't practice for a day for any reason, which is really rare, I feel so guilty that it's not worth it to me," Allen says. "If I was able to practice a lot more, if I was able to practice five hours a day, I would never be great. It's not in me."

Edited June 4, 2010 by Guy

[mjzee]

I think Woody's indulging in a certain amount of false modesty. Have you seen the film "Wild Man Blues"? Barbara Kopple's 1998 documentary follows Woody with Eddy Davis's band on a European tour. He's been playing clarinet all his life, is a true fan of that style of jazz, and does not embarrass himself with his playing. It's an interesting film.

Wild Man Blues - Amazon

[JSngry]

I can't take any of this particularly seriously.

I mean, Woody Allen gets a fawning article from a New York journalistic outlet.

Somebody wake me up when that doesn't happen in some for or fashion, ok?

[RJ Spangler]

Tough crowd here! I enjoyed it myself and I've seen Wild Man Blues and many of his films and he of course uses Dick Hyman and also Vince Giordano in his films. I say good for him. He states that he likes modern jazz but that he really digs the old stuff. I for one am glad that he cares. I noticed in reading this piece the fine young (African American)drummer Marion Felder seemed to "get" Woody's love of early jazz. He is not the great savior of moldy-fig jazz, but he does his little part. It was a well written article. I did look at Iverson's blog and he admits that he was "over the top" after reading the Voice.

Edited June 6, 2010 by RJ Spangler

[mjzee]

I did look at Iverson's blog and he admits that he was "over the top" after reading the Voice.

Yes, after reading Iverson's update, it sounds like he's itching/looking for someone to take Woody down a peg; he just realized that, in his initial post, he was shooting blanks. Interesting impulse, though. Maybe just envious?

[JSngry]

Or maybe just not a fan. Not everybody is, you know...

I remain one myself, but...the guy lives in a fucking cocoon and his work reflects that. It's to his credit that he often enough continues to find some universal truths in there, but I can easily see why some people just don't give a shit anymore.

[Tom Storer]

I'm a big fan of Woody Allen's movies--at this point in his career they're fairly predictable but I find them charming. And of course I love the soundtracks. I don't think this particular polemic has much to do with his movies per se, though.

Edited June 6, 2010 by Tom Storer

[paul secor]

I'm a big fan of Woody Allen's movies--at this point in his career they're fairly predictable but I find them charming. And of course I love the soundtracks. I don't think this particular polemic has much to do with his movies per se, though.

I agree entirely. Woody's movies are somewhat predictable these days, but I know that when I see one of his films my intelligence and sensibilities won't be insulted. "Charming" is a good word to use when speaking about Woody Allen's films, and not a word I'd use when speaking about the vast majority of films being made these days. Charm may be a relatively lost art. I have the impression that most film makers are more interested in hitting me over the head than charming me.

[mjzee]

I'm a big fan of Woody Allen's movies--at this point in his career they're fairly predictable but I find them charming. And of course I love the soundtracks. I don't think this particular polemic has much to do with his movies per se, though.

I agree entirely. Woody's movies are somewhat predictable these days, but I know that when I see one of his films my intelligence and sensibilities won't be insulted. "Charming" is a good word to use when speaking about Woody Allen's films, and not a word I'd use when speaking about the vast majority of films being made these days. Charm may be a relatively lost art. I have the impression that most film makers are more interested in hitting me over the head than charming me.

"Match Point" goes way beyond that, though; it's a great film. Hitchcock meets Tolstoy.

[paul secor]

I'm a big fan of Woody Allen's movies--at this point in his career they're fairly predictable but I find them charming. And of course I love the soundtracks. I don't think this particular polemic has much to do with his movies per se, though.

I agree entirely. Woody's movies are somewhat predictable these days, but I know that when I see one of his films my intelligence and sensibilities won't be insulted. "Charming" is a good word to use when speaking about Woody Allen's films, and not a word I'd use when speaking about the vast majority of films being made these days. Charm may be a relatively lost art. I have the impression that most film makers are more interested in hitting me over the head than charming me.

"Match Point" goes way beyond that, though; it's a great film. Hitchcock meets Tolstoy.

Yeah. Woody hasn't completely retreated into nostalgia/self reference. He can still bring it at times.