jazz

`` What is with this vow jazz ''??

If Wilhelm Reich is the Moses who has led them out of the Egypt of sexual slavery, Dylan Thomas is the poet who offers them the Dionysian dialectic of justification for their indulgence in liquor, marijuana, sex, and jazz.

indeed, it is maintained that the sexual element in jazz, by freeing the listener of his inhibitions, can have therapeutic value.

That is why, the argument runs, the squares are so fearful of jazz and yet perversely fascinated by it.

Instead of giving themselves spontaneously to the orgiastic release that jazz can give them, they undergo psychoanalysis or flirt with mysticism or turn to prostitutes for satisfaction.

Thus jazz is transmuted into something holy, the sacred road to integration of being.

The mystique of sex, combined with marijuana and jazz, is intended to provide a design for living.

With lyrical intensity they reveal what they hate, but their faith in love, inspired by the revolutionary rhythms of jazz, culminates in the climax of the orgasm.

Hence the beatniks sustain themselves on marijuana, jazz, free swinging poetry, exhausting themselves in orgies of sex ; ;

They were not diplomats or jazz musicians, or even organizers of reading-rooms and photo-montage displays, but rugged capitalist entrepreneurs like Henry Ford, Hugh Cooper, Thomas Campbell, the International Harvester Co., and David W. Griffith.

It purported to be a reasonably serious attempt at a treatment of jazz musicians, their aims, their problems -- the tug-of-war between the `` pure '' and the `` commercial '' -- and seemed a promising vehicle, for the two men shared a common interest in jazz.

Johnny Mercer practically grew up with the sound of jazz and the blues in his ears.

Lawrence Ferlenghetti and Bruce Lippincott have concentrated on writing a new poetry for reading with jazz that is very closely related to both the musical forms of jazz, and the vocabulary of the musician.

Rexroth is a longtime jazz buff, a name-dropper of jazz heroes, and a student of traditional as well as modern jazz.

In San Francisco he has worked with Brew Moore, Charlie Mingus, and other `` swinging '' musicians of secure reputation, thus placing himself within established jazz traditions, in addition to being a part of the San Francisco `` School ''.

Although Patchen has given previous evidence of an interest in jazz, the musical group that he works with, the Chamber Jazz Sextet, is often ignored by jazz critics.

) The stated goal of the CJS is the synthesis of jazz and `` serious '' music.

Patchen's musicians are outsiders in established jazz circles, and Patchen himself has remained outside the San Francisco poetry group, maintaining a self-imposed isolation, even though his conversion to poetry-and-jazz is not as extreme or as sudden as it may first appear.

However, his subject matter and basic themes have remained surprisingly consistent, and these, together with certain key poetic images, may be traced through all his work, including the new jazz experiments.

It was logical that he would come up with the figure of the modern jazz musician.