king ubu Posted October 16, 2012 Report Share Posted October 16, 2012 Yeah, he gave much praise to the great and sorely missed Lester Bowie Quote Link to comment Share on other sites More sharing options...
johnlitweiler Posted October 16, 2012 Report Share Posted October 16, 2012 Ubu, are you being sarcastic? Quote Link to comment Share on other sites More sharing options...
Christiern Posted October 16, 2012 Report Share Posted October 16, 2012 Not to mention that he reinvented (remodeled) Jelly, Duke, Louis, and others—making them ready for prime time. As for his work as an educator, young people are not well served when their teacher suffers myopia. Quote Link to comment Share on other sites More sharing options...
sonnymax Posted October 17, 2012 Report Share Posted October 17, 2012 (edited) Assuming somebody only cares to shriek, gargle, groan and wail like he's gone bezerk... Honestly, I don't know of anyone who fits this description. I do listen intently to artists who often play with fierce intensity, such as Cecil Taylor, later Coltrane, Kidd Jordan, Albert Ayler, etc. Is it difficult to listen to such raw emotion for long periods of time? Of course it is, but that's because there's so much there to be heard, and it's not dressed up all nice and pretty to make it more palatable. I have similar experiences working with trauma survivors whose narratives can be very raw, urgent and emotional. It can leave you feeling drained, but again, it's because of the outpouring of human experience and honest emotion. My reaction to much of Wynton's music is just the opposite. I hear impressive technique, but also cold, calculating expressions of "what jazz is supposed to sound like". If all you hear are shrieks, groans and berserk wailing from free players, then we're obviously coming from different directions and seeking different experiences. That's cool. Edited October 17, 2012 by sonnymax Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted October 17, 2012 Report Share Posted October 17, 2012 (edited) trying to characterize "free" jazz in any single way is a mistake; I play free on many tunes (I prefer "open"); Ayler played free; Ros Rudd too, Julius Hemphill, Eric Dolphy, Coltrane, Stephen Haynes, Ray Suhy, Sonny Sharrock, Lester Bowie, even Miles, Wayne Shorter - and those are ALL different approaches. Edited October 17, 2012 by AllenLowe Quote Link to comment Share on other sites More sharing options...
king ubu Posted October 17, 2012 Report Share Posted October 17, 2012 Ubu, are you being sarcastic? obviously ... except for the "sorely missed" bit, that one is serious! Quote Link to comment Share on other sites More sharing options...
Big Al Posted October 17, 2012 Report Share Posted October 17, 2012 I don't know about "great players." Speaking in terms of instrumental proficiency, yes, great players. I will respect that if I don't anything else (which I pretty much don't...). Instrumental proficiency? At what? Saint-Saens? Guy Lombardo? And how can you tell based on this IMO f---ed up performance? I mean, if they can't play this score decently, it's kind of like saying of a baseball player that he's athletically proficient because he's in great physical shape, has excellent bat speed, oodles of quick-twitch muscles, and can run like a deer, even though he still can't catch a fly or put his bat on the ball. By this logic, the Texas Rangers are the LCJO of baseball. And I can't say I disagree with this comparison. Quote Link to comment Share on other sites More sharing options...
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