Many of our greatest musicians abandoned all of their aesthetic objectives to try to become pertinent. And, at the end of the day, they never became pop stars. I counter stated that very strongly, and I continue to do that.
Interpretation
The quote emphasizes the struggle musicians face between artistic integrity and commercial success.
Wynton Marsalis reflects on the choices musicians make when they prioritize mainstream appeal over their artistic vision. He argues that many talented musicians have sacrificed their aesthetic goals in an attempt to gain popularity, yet ultimately fail to achieve the status of pop stars. This highlights the tension between authenticity in art and the desire for commercial relevance.
In practice
In a speech about artistic careers, one might quote Marsalis to illustrate the conflict between artistry and commercialism.
Swing is extreme coordination. It's a maintaining balance, equilibrium. It's about executing very difficult rhythms with a panache and a feeling in the context of very strict time. So, everything about the swing is about some guideline and some grid and the elegant way that you negotiate your way through that grid.
Jazz music is the power of now. There is no script. It's conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.
The blues. It runs through all American music. Somebody bending the note. The other is the two-beat groove. It's in New Orleans music, it's in jazz, it's in country music, it's in gospel.
In Jazz, improvisation isn't a matter of just making any ol' thing up. Jazz, like any language, has its own grammer and vocabulary. There's no right or wrong, just some choices that are better than others.
My daddy thought - no, he expected - that my brothers and I and our generation would make the world a better place. He was correct in his belief because he had lived in an America of continual social progress, depression followed by prosperity, segregation by integration, and so on.
New Orleans had a great tradition of celebration. Opera, military marching bands, folk music, the blues, different types of church music, ragtime, echoes of traditional African drumming, and all of the dance styles that went with this music could be heard and seen throughout the city. When all of these kinds of music blended into one, jazz was born.
There's always been a separation between fashion and what I call my 'deeper' work. Fashion is where I make my living. I'm not knocking it. It's a pleasure to make a living that way. It's pleasure and then there's the deeper pleasure of doing my portraits. It's not important what I consider myself to be, but I consider myself to be a portrait photographer.
On the other hand, what I like my music to do to me is awaken the ghosts inside of me. Not the demons, you understand, but the ghosts.
It took me some years to clear my head of what Paris wanted me to admire about it, and to notice what I preferred instead. Not power-ridden monuments, but individual buildings which tell a quieter story: the artist's studio, or the Belle Epoque house built by a forgotten financier for a just-remembered courtesan.
The drawings don't start with 'a beautiful mark'. It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion.
Elegance must be the right combination of distinction, naturalness, care and simplicity. Outside this, believe me, there is no elegance. Only pretension.
If a poet does not tell the truth about time, his or her work will not survive it. Past or present, there is a human dimension to time, human voices within it, and human griefs ordained by it.
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