Track of the day is the Larry Klein produced Cande y Paulo version of Leonard Cohen’s ‘Treaty’. Peace, a wish piece, that makes perfect sense if only… but how impossibly in this game of hearts. A world discovered and explored beyond anger and fatigue in the lyrics all are conveyed whisperingly by singer-bassist Cande Buasso. The humility and regret of 'I'm so sorry for that ghost I made you be' is especially well caught against the ever more certain piano lines of Paulo Carrizo.
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Jazz critics should not think that they own their subject. Is a manifestation derived from the human imagination even ownable?
Certain writers really believe that they own jazz. That belief is so very wrong because in its pursuance critics overstep the mark in figuring that ownership is absolute possession of knowledge. The latter needs to include a recognition that the building up of knowledge by anyone is an act that never stops and remains incomplete and liable to be challenged. ''Knowing'' is never as complete as the ''knower'' thinks or worse treats as case closed. Their publications or programmes are over stepping the mark if in their writers or broadcasters they encourage notions of ownership in the pursuit of self aggrandising towards a pompous aspiration of being an authority. Critics do not own facts and rarely are the ultimate authority on anything. They do not give facts beyond stating the obvious or setting the scene. Their own truth also is not fact beyond approximating quite reasonably to their own knowledge of their own worth. My truth is not a fact however valid. Yours is the same. Is critical opinion important? When it serves a function it is but that function may be limited. If a critic loses sight of the function or sees the activity as a surrogate towards another goal (for example the stoking of their own vanity) then they are not worth reading or listening to.
If you as an artist receive a negative review what do you do? Let's see, 1/ reject it; 2/ see the merit in it. Two responses. The first is the most natural. But not always the most correct or even the best response. The second may be about you just being fair and bending over backwards to understand the criticism aimed at your art. That might also be a mistake. A third, again worth careful consideration, is to critique the critic if you can do it dispassionately and well. Oh, you may lose the argument but if you win will it feel like a victory, ask yourself that. Do you object to the fact deep down that someone has had the ''temerity'' to express an opinion on your work? If so sorry. That attitude is worth sharp rebuke.
Further reading: Critics and Critics: part 2
Auguste Rodin, 'The Thinker'. Photo: Visit Philadelphia