TT 362: "There is nothing more dreadful to an author than neglect --"
"-- compared with which: reproach, hatred, and opposition, are names of happiness."
(The above quote is from Samuel Johnson.)
My New York Times thinkpiece “The Worst Masterpiece: Rhapsody in Blue at 100” continues to generate discussion. I slept in late today, and woke to a dozen texts letting me know that John McWhorter had weighed in “against” me with, “Not All Jazz Has to Jam.” (The post is in McWhorter’s paywalled newsletter, and apparently will publish in the New York Times shortly.)
Many noted that McWhorter’s position is ultimately unconvincing because he concedes most of my points. The New York Times film critic Glenn Kenny (who I admit is a friend) tweeted: “Shorter John McWhorter: Ethan Iverson is right; on the other hand, I’m John McWhorter.”
I like John McWhorter, especially when he covers the evolution of language with his trademark charisma and humor. Much of the time I agree with his perspective on the culture wars, for example when McWhorter took up a somewhat risky position against Philip Ewell (my own Ewell screed is here).
However, it must be said that there is truly a middlebrow aspect to McWhorter’s musical taste. Somehow, in 2022, McWhorter had the time to write one of the most banal essays I’ve ever seen, “Classical Music Doesn’t Need to Be Ugly to Be Good,” where McWhorter comes out against atonality basically because he didn’t like singing something dissonant when participating in his college choir.
Jazz critics Michelle Mercer and Howard Mandel have publicly chastised my Rhapsody In Blue article. Composer Chris Cerrone’s dissenting note was published by the Times.
Anyone who makes bold statements about art needs the courage of their convictions. In this case, I am utterly confident that I am on the right side of history. The more dust my little missive kicks up, the better chance that American concert musicians will start practicing and acquiring the basic techniques of Black music. The better chance they will learn names like Jelly Roll Morton and James P. Johnson. The better chance our future American music will be powered by composers and players who command a full arsenal of possibility.