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Joshua Redman

187 posts in this topic

UNFORTUNATELY, "the Chicago School" (sic), which sucks more than it doesn't

I've ignored this thread for a while 'cause I don't want to offend some friends but checking the current page to get the tenor of the arguement, clementine's above statement caught my attention and prompted a response.

UNFORTUNATELY, all scenes suck more than they don't. Never forget to wade thru the ephemera to get to the real deal. Part of the journey and the results are worthwhile.

I meant to ignore "the Chicago school" aside, but I do still want to ask Clem: Have you heard one darn thing from Chicago in recent years that wasn't from KVM directly or KVM-associated? If you haven't (and I've named a bunch of names elsewhere) you don't know what you're talking about here.

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I thought he was talking about Mortimer Adler -

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I think you're taking Clem's posts a lot more personally than you need to. He does make one think.

(edit: for Alexander)

I know. The guy rubs me the wrong way, what can I say? I ignore his posts most of the time, but when he makes up a big part of a thread (like this one) I just can't look away. It's like a car wreck on the side of the road.

His annoying hipster "look-at-me-I'm-so-cool-because-listen-to-XYZ" schtick pisses me off. Can't explain why.

Try reading only every third word. It makes equally as much sense and you can skip the faux-edginess (which I personally have come to enjoy, actually).

(signed, old enough to know better) ... carry on!

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His annoying hipster "look-at-me-I'm-so-cool-because-listen-to-XYZ" schtick pisses me off.

Well, not to sound petty, but have you listened to any of the people he trumpets?

I know Chuck and Larry are way keyed-in to the Chicago scene(s), and I've heard probably only a smidgen of recent vanguard music of that area comparatively. That said, I think they're quite right.

As I and others have said, if you really like music, you'll wade into it deeply.

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I, for one, am glad this thread happened. Clarified for myself the arguments of the main participants on this issue, which has popped up here and there since the beginning of the board (yes, I can be slow on the uptake).

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actually, Clementine is Martin Williams -

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And Martin Williams is really John Cleese.

And we are all together.

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Joshua Redman was originally being hyped around the time I was first getting into jazz, and not knowing any better I thought he was pretty cool. (I am a sucker for someone's tone, especially on the tenor, and I'll say this for Joshua Redman, he's got a great tone...) Anyway, I discovered Dewey through his live album, IN LONDON, on Palmetto, and I immediately sold all my Joshua Redman albums, as this was the real shit. I've since gone on to check out everything I could get my hands on with Dewey, and still marvel at his son's popularity, but I don't know if I would have checked Dewey out if it wasn't for his son. (I think it is funny too that IN LONDON is considerably closer to Joshua's bag than anything else I've heard from Dewey, and I wonder if I would have gotten into him if I had heard stuff like the SCIENCE FICTION sessions, or EAR OF THE BEHEARER first...

As to Mehldau, I think he can be ponderously noodle-y, and you couldn't pay me to listen to him with MEHtheny, but I gotta say that to my ears LARGO was THE cocktail jazz album of the new millenium (serving th purpose I had hoped Sex Mob's SEXOTICA album would serve.). It's a pity that at the time the hype was that it was somehow Miles Davis level groundbreaking, because taken for what it was, I think it is a modest classic- if indeed there are modest classics in tasteful background music. His other stuff hasn't hit me nearly as much.

Bad Plus is not really about the covers, but I can see why they do them, and I know they have acted as gateway jazz to many a friend who wouldn't go near jazz before. If you compare their halfway interesting cover of "Teen Spirit" to Herbie Hancock's Nirvana cover, I think they get points for approaching the music on its own terms. I understand that for some on this board that isn't enough, and everybody is right to think Lester Bowie always did it better.

One last thing about pop covers. The version of "Ticket To Ride" from the Thomas Chapin Trio's album RIDE >>>>>>>>> than Mehldau and BP combined, as Clem might say.

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QUESTION: how many, say, Pere Ubu songs have they covered because Ethan's "big ears" have so much to say about, well, almost anything? what, what? Pere Ubu have been on, I dunno, 2-3-4 major labels at different times, depending on how ya'll count these things & where-- U.S. is different than Europe, etc. not that i'm elevating Ubu to Hugo Wolf (great-uncle to Howlin'!) status but wow the lack of imagination in this turd's "rock" covers is exceeded only by the tedium of the dude's playing.

Re: Pere Ubu, "30 Seconds over Tokyo" would be a great vehicle for improvisation!

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But you think... how many people in, say, music school have good taste in musics of any other sort than the one they're ostensibly "studying?"

This dude was doing "Imaginary Landscape" with his itunes and it was a mix of, you know, Carter, Varese, Haydn, Bjork, and Wilco samples. From a young composer at UT Austin. I mean... c'mon, you know - the UT music library is FULL of tons of neat shit and that's what he could come up with.

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