I wanted to find an example of jazz that's so atypically experimental that it might counter Adorno's critique's of different forms of jazz as pseudo-individualization revolving around standardization. Besides dynamic development and some repetition of motifs, I'm not sure that there's much in this song that can be targeted by his critiques. Plus the song is incredibly expressive with its spoken word and distressing instrumentals, and focuses a good amount of energy towards making the listener feel uncomfortable, particularly towards the beginning.
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Adorno’s critique of popular music, especially of jazz, seems to me to be limited to the type of jazz that he was exposed to in the 1930s - a type of jazz that does reflect his accusations of standardization and pseudo-individualization, but one that is ultimately limited and frankly much less experimental that what the jazz would later develop. Matana Roberts’ song “i am” (2011) utilizes typical jazz instrumentation of drums, saxophone, standup bass etc., and general dynamic development, but that’s about as far as Adorno’s criticisms can apply. The dense and distressing “i am” starts similarly to Adorno’s own music: atonal and lacking in any distinct tempo or melody - and just when a groove starts to form and vocals tease an entrance, soft saxophone squeaks mimic ominous, ghostly noises and develop into atavistic, almost unbearable squealing/screaming from Matana. This incredibly uncomfortable intro was inspired by the horrors of intersectionality that she has felt as a black woman - something that becomes more apparent as a jazz cadence does develop (something to provide musical comfort), only to be overwhelmed by an agitated spoken word that focuses the listener’s discomfort into a tangible sentiment. This use of suspending typical musical catharsis is actually not far off from Adorno’s own music, which evokes distress to best cope with his assertion that "there can be no poetry after Auschwitz.” Even the structure of “i am,” lacking verses/choruses and a notable melody other than the cadence, escapes Adorno’s description of standardization.
The modern condition of music, with creative expression unlimited by easy access to instruments, recording equipment, online distribution etc., allows for the most basically-equipped musicians to go beyond standardization and pseudo-individualization - even if that is what makes up the primary sphere of popular music. To be fair, Matana’s music is avant-garde in some senses (notably in the comparisons to Adorno’s music above), but it is definitely also jazz (specifically free jazz, which has been popular with very notable jazz musicians such as John Coltrane). I think Adorno would have a lot of trouble trying to dismiss this piece.
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