The Institute
While this is not our first foray into interdisciplinary art exploration, we at the Institute are aware that our preoccupation with novel perspectives on jazz tonsure has left us open to charges of artistic parochialism. Our core mission of advancing jazz historiography remains intact. However, we made the decision to expand our vision and have undertaken an investigation into a phenomenon that has recently come to our attention: Smash Arts Akron.
We are aware that graduate students in Harvard's Department of Museum Studies have been sifting through and dissecting the work forged in the studios of Smash Arts Akron, but even their rabid attention has failed to unearth a great deal of valuable cross-artistic detritus. Our own research has uncovered evidence of a hitherto unknown musical component of this visionary group. I'm proud to announce our preliminary findings.
The first evidence of an interdisciplinary aspect of the Smash group's opus arose from a close examination of the above photo. Notice that each person in the photo is looking in a different direction. In music, we call this a Polyphonic Grouping and its use has been traced to the early days of multi track recordings in jazz. The woman on the left is holding sheet music and electronic magnification shows watermarks identifying it as the original Dave Lambert vocal chart for the unreleased Gil Evans/Charlie Parker "Bird with Voices" recording.
Close examination of the above clearly shows that the subject of the photo is not drinking, but is blowing into the bottle; further, that he is using the one-handed bi-liter grip first employed by Lester Overholt on a 1928 Red MacKenzie Blue Blowers session.
The above "objets," which we conjecture were carved by Buddy Bolden's first wife's brother-in-law, were part of a schema used in place of the Western musical notation system of notes, rests, and clefs. The 5-5-5 matrix was an allusion to the 5 square block area of the Treme Dstrict of New Orleans where the system was first developed. We speculate that the tops of the objects represent an nascent form of Tweeting.
The above is the unfortunate aftermath of an impromptu jam session organized by Sol Hurok,
involving members of Smash Arts Akron and Charles Mingus.
The complete results of our research are in the process of being peer-reviewed at the Journal of Jazz Epiphenomena and will be released on the final Tzolkin of the Haab.
