Sublime

played a key role in introducing unusual time signatures into jazz, most notably on his recording of “Take Five,”

First, the musicians play the melody (or theme). Second, they improvise over the harmonies of the song—with some or all of the performers taking solos (these are the variations). Third, the musicians return to the melody for a final restatement of the theme.

In theory, software should be able to re-create all the nuances of analog Africanized sound, but judging by the pop records I hear, we are still a long way from realizing that goal. Maybe we need an injection of Africanized soundscapes—let’s even call it a new jazz revolution!—all over again.

evolution of jazz from a free-flowing spontaneous music that can hardly be captured by notation into a codified, sophisticated orchestral music played by supersized ensembles that fill up an entire stage or bandstand.