FROM ROCK TO JAZZ

Rock is a left-wing democratic art form reflecting, as a rule, a kind of petty-bourgeois/proletarian decadence, by which is meant rhythmic bias - music being predominantly rhythmic in its autocratic youth, harmonic/melodic (a combination of rhythm and pitch, whether rhythm- or pitch-orientated) in its democratic adulthood, and 'pitchful' in its theocratic old age. Rock suggests, in its rhythmic and chordal essence, a neo-pagan type of integrity, a 'fall' from democratic bourgeois melodic music which, paradoxically, is yet also a 'rise' ... with regard to the use of electric and synthetic instruments. It's as though the age were reflecting an 'eternal recurrence' of pagan rhythmic vitality on a higher, though parallel, turn of the evolutionary spiral.

Not entirely, however! For while Rock is symptomatic of a left-wing decadence, there is also such a thing as Jazz-Rock, which suggests a theocratic aspiration and which, in consequence of its greater complexity, may be accorded a right-wing communist, or Marxist-Leninist, equivalent, distinct, in its improvisational essence, from the rhythmic bias of rock musicians, who seem to reflect a Marxist integrity ... as Rock becomes increasingly rhythmic and thus, in effect, progressively more degenerate, symptomatic of Punk. If Rock began as a democratic-socialist equivalent, it has arguably ended-up as an extreme left-wing communist equivalent, rhythm being paramount.

Certainly, Jazz-Rock suggests an opposition to this degenerate trend and is somehow transitional between rock purism and Rock-Jazz, that left-wing theocratic art form which, while being predominantly jazzy, and hence improvisational, is not without a rock aspect, or commitment. Some have termed it 'Fusion', in contrast to 'Progressive', or Jazz-Rock, which suggests a predominantly white, as opposed to black, ethnic bias. Rock-Jazz (Fusion) is a black approach to a white democratically-biased music, Jazz-Rock (Progressive) a white approach to a black theocratically-biased music. They are both hybrid forms in between the democratic, or anti-democratic, and theocratic extremes of ... Rock and Jazz, in the latter case specifically Modern Jazz, that electronically-biased improvisational music in which pitch is if not all-important then, at any rate, considerably more important than in Jazz-Rock or, for that matter, in Rock-Jazz.

Modern Jazz is a right-wing theocratic art form, suitable to a supernatural ideological bias, particularly one of approximately Social Transcendentalist integrity. In this music, the rhythm, whether from drums or bass, generally functions on a quasi-pitchful level, suggesting a tendency in the direction of pitch absolutism. This, however, will only come about in the future, by which time Modern Jazz will have been superseded, in all probability, by Superjazz, as percussive and rhythmic ingredients are pitchfully transcended in an improvisational purism, and music attains to its culmination in the wise old age of a theocratic supernaturalism.

A radically theocratic society would have no use for Rock, none even for Jazz-Rock and its Jazz-based counterpart - Rock-Jazz. Neither would it tolerate Soul, the black equivalent of Rock, nor its degenerate successor Funk, which stands to Soul as Punk to Rock. In both cases, the internal has given way to the external, essence to appearance, content to form, melody to rhythm, and they are equally decadent and, by implication, antinatural.

Likewise Pop, the unsophisticated music of the broad masses rather than of a minority elite, whether petty-bourgeois or proletarian, democratic or theocratic, will cease to exist in the coming supernatural society. Only the highest theocratic music will prevail, and predominantly within a religious context. It won't be Jazz in any traditional sense, but stem from Modern Jazz to the extent that it is synthetic and largely improvisational, or pitchful.

The bourgeois classical and petty-bourgeois avant-garde traditions, both pertinent to the right-wing of a democratic society, will have been consigned to the rubbish heap of musical history, from which, in conjunction with left-wing antinatural music, they will never arise again! Only free-electron criteria will be relevant to the ultimate closed society.