This is great, especially love the point that a lot of the art/architecture ending up on those covers was new at the time, not sure how much modern architecture makes it onto covers these days! Also the loos lecture is interesting, I totally understand the jump from retro ornamentation to sleek modernity, but I worry that in art, we did it too hard, and forgot that there was a lot of style in ornamentation, some of that style (or emphasis on style) I worry has been lost in the postmodern art scene of today.
Very interesting essay. I lived in several Brooklyn brownstones pre-gentrification.The analogies you make between music and architecture remind me of the saying "Architecture is frozen music". I've heard this attributed to a few different people so I'm not sure of the exact origin. In the early seventies I lived in a building in Little Italy that was owned and occupied by the artist Louise Nevelson. I recall asking her once how her latest piece was coming along to which she replied " I can't find the melody". Your comments about the spareness of later architecture compared to the ornateness of earlier examples reminded me of the way Basie's All American Rhythm section streamlined the rhythmic foundation of jazz and how Lester Young's pared-down style contrasted with that of Coleman Hawkins and other "big toned" tenor men. I also recall remarks made by two players who had a huge influence on me and whom I played with in the same group for a couple of years. Lee Konitz always talked about sticking to the point (as did Monk)and wanting to "trim the fat" from his playing and Jimmy Knepper used to talk about trying to eliminate " filler material" from his playing. Thanks for introducing such an interesting topic. Kepp up the good work.KB
This is great, especially love the point that a lot of the art/architecture ending up on those covers was new at the time, not sure how much modern architecture makes it onto covers these days! Also the loos lecture is interesting, I totally understand the jump from retro ornamentation to sleek modernity, but I worry that in art, we did it too hard, and forgot that there was a lot of style in ornamentation, some of that style (or emphasis on style) I worry has been lost in the postmodern art scene of today.
Very interesting essay. I lived in several Brooklyn brownstones pre-gentrification.The analogies you make between music and architecture remind me of the saying "Architecture is frozen music". I've heard this attributed to a few different people so I'm not sure of the exact origin. In the early seventies I lived in a building in Little Italy that was owned and occupied by the artist Louise Nevelson. I recall asking her once how her latest piece was coming along to which she replied " I can't find the melody". Your comments about the spareness of later architecture compared to the ornateness of earlier examples reminded me of the way Basie's All American Rhythm section streamlined the rhythmic foundation of jazz and how Lester Young's pared-down style contrasted with that of Coleman Hawkins and other "big toned" tenor men. I also recall remarks made by two players who had a huge influence on me and whom I played with in the same group for a couple of years. Lee Konitz always talked about sticking to the point (as did Monk)and wanting to "trim the fat" from his playing and Jimmy Knepper used to talk about trying to eliminate " filler material" from his playing. Thanks for introducing such an interesting topic. Kepp up the good work.KB
Thanks Kenny. I'm gonna do a future essay on jazz musicians in brownstones, such a rich topic!
Truly fascinating stuff. Thank you for pointing out these parallels between modernist architecture and modern jazz.