Saxophonist Soweto Kinch picks jazz from all eras and around the world, with a special focus on new British artists. Monday to Friday, with live sessions and guests, and undiscovered talent from BBC Introducing.
As a confirmed insomniac, and not really a jazz enthusiast - this is my first post here!
- I notice that there's no thread on this programme titled just with its name. I've dipped in occasionally and been impressed by Soweto Kinch's presentation: a great radio voice, authoritative knowledge and a non-culty language. I almost wanted to create this thread not on the Jazz Bored, to attract non-jazz listeners to the programme.
I fell into last night's programme and Esperanza Spalding tallking about her music and others', on my way to TTN: as someone whose jazz experience consists largely of repeated plays of my Acker Bilk EPs when I was 15, the conversation was interesting, even though I knew almost none of the names they referred to.
As a confirmed insomniac, and not really a jazz enthusiast - this is my first post here!
- I notice that there's no thread on this programme titled just with its name. I've dipped in occasionally and been impressed by Soweto Kinch's presentation: a great radio voice, authoritative knowledge and a non-culty language. I almost wanted to create this thread not on the Jazz Bored, to attract non-jazz listeners to the programme.I fell into last night's programme and Esperanza Spalding tallking about her music and others', on my way to TTN: as someone whose jazz experience consists largely of repeated plays of my Acker Bilk EPs when I was 15, the conversation was interesting, even though I knew almost none of the names they referred to.
) being told how wonderful this music is on general musical aesthetic grounds, which is what we mostly get, but I keep on asking myself, who are these people? What criteria distinguish the good but routine from the outstanding and ground-breaking? Where are the main and subsidiary lines of where the music is going, in relation to where it has been if necessary? Please just tell us before or after the track is played instead of the tacit assumption that we're expected/assumed to check any or everything up on the internet! And if jazz is a music that by its nature changes and evolves if it is not to stagnate and become musically, sociologically, historically and politically irrelevant, how, which of, and in what ways are the people featured contributing to sustaining the music and its relevance? We had a bit of that in Worby's mid-Prom Braxton talk; the trouble is that the way he went about his referencings were so divorced from their 1960s criteria-informing sources that the talk would have been meaningless to most contemporary listeners who have not followed the music for decades (like many of us have!) and offered in a glibly dismissive offhanded manner that suggested oh well, who really cares about all this intellectual stuff anyway? 
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