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baltostar

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  1. here's what i don't understand about the Sco whining on this thread: this music is so large: so large in terms its message, so large in terms of the historic thirst it helps to quench, so large in terms of how hard these veteran masters are pushing each other to the absolute limits ... so large, that one requisite for success on this type of project is having someone with a near endless reservoir of ideas. percussive ideas, yes, JackD is all over it ... jaw dropping. but its never been in the cards that listeners who seriously relate to transcendental musics will be captivated over hours without the presence of a player who posseses a vast reservoir of melodic/harmonic ideas. to sustain its healing, the mind demands ever more variety in helping it to recover the inner universe of understanding upon which we architect our lives but which becomes so badly tarnished and damaged as to be unrecognizable during much of the time we struggle. and transcendental thought most directly related to shifting melodic and harmonic landscapes. there just aren't that many improvisational masters out there with the depth of ideas and the sorcery to weave them together in changing forms to pull this off. taking nothing away from Goldings, who is among my favorites , but Sco is an *ocean* of ideas, most of them original (or at least morphed and reworked to the point that it doesn't matter if their origin can be traced). you simply can't have this band without someone like Sco on board. and i'd have to guess that Goldings would agree that he's not there yet. and i'd have to guess that JackD chose Sco for this band because there are precious few others who could pull it off. i'm struggling to count up enough possibilities to fill one hand.
  2. now that sums up what i don't get about some % of the people on these forums. a lot of you only want one slice of life. i really don't get it. i really don't. it's like in F1 racing, Flavio Briattore, i mean the guy looks and talks like a sleazy leftover disco scumbag. but ... uhhh ... what's wrong with this picture ? why is Renault and Alonso on top and looking unbeatable ? who discovered Senna ? we're talking about a sport where every trick (nasty and otherwise) in the book is deployed -- even though it's already an inherently deadly game. or since that analogy might be like arguing about when to sneak in on low suited connector ... what about Scratch's new album ? it's not like i really care about what's going down on the mean streets of Philly ( in reality or as an artifice ) and i couldn't hang with that scene in any case ... but Scratch is a real innovator, pushing the limits of his craft, and you don't have to be coming from the hip-hop side to see that. and the sounds totally cross over into the younger generation who aren't or just can't be hip to McBride -- DJ Logic or no DJ Logic, Scratch or no Scratch. better than them listening to $0.50 Slash ? what's the big deal ? yeah, now he's getting a little old and fat to pull it off ... but c'mon ! the cat lived a wild life. the hottest babes in the world , 3 or 4 hotel rooms going at once , speedballing from one to the next ... ok, it's a hopelessly shallow road to nowhere, but don't you wish you'd done that in your twenties (that is, if you didn't) ?
  3. what kind of a great anybody includes himself in a list of great anybodies ? well, the massively talented Edmundo proclaimed himself the greatest soccer player in the world ... but that guy is a fucking prick.
  4. sure, everything's relative. my faves currently with us include Kilson, Stewart, DeJohnnette to name a few i've seen live somewhat recently. but Donati wouldn't be making a living playing music if there was no musical value to his playing. it's like saying Slash is a bogus guitarist. sure, onstage with McLaughlin, Sco, Frisell, Metheny, Eubanks, Stern, Seeger ... or, take a younger age group, say, Hunter, Krasno, Moreno, Rogers, Bernard, ... Slash probably wouldn't fare too well. but Slash in his element, can any of the above touch him ? i think not. maybe Vai ... a cat like that, could do some damage ...
  5. absolutely no musical value ? dude, what's he supposed to do now ? get into the meat tenderizing business ?
  6. JUNE 2 BOBBY PREVITE + MARCO BENEVENTO + BRIGGAN KRAUSS 55 Bar, 55 Christopher, NYC 9:30 pm if anyone catches this one , please post. hopefully they fiddle the knobs the right direction a bit on Benevento's machines. almost blew Hunter off the stage and Skerik right off the map. no guitar ... it can only get worse.
  7. cool man. this is sickness. i've seen all these cats. forman kills ... and it's not at noshis. no factory processing of my evening thank you. i'll show.
  8. i thought Branford did a brilliantly self-centered job of using his forum to settle old scores in his favor. old scores misconstrued, misunderstood, taken out of context, all of the preceding ... or just beyond his comprehension. preaching to the converted it was easy.
  9. that's getting pretty close to what Elvin's wife said at the end of Elvin's final performance. strange for two reasons. one, Elvin was glowing with love for everyone in the room (and I believe all of humanity) - even though he could barely stand or even tom the drums. two, the audience was white by a large majority and mainly was old school , the true faithful from the 60s. guess there are two kinds of white folk. hope we can tell each other apart.
  10. categorization and segmentation of ideas is a very boring trend that unfortunately is becoming the typical paradigm on the web as well as in real life. i find it extremely confining to think about these matters "locked in one box". no aware person's mind really works like that, so why artificially separate thoughts ? also, these are discussion forums, not a dedicated web-page, or a product-review website, or a wikipedia entry. there's enough of that out there already. i'm not trying identify those who do or do not sustain music and musicians in the here and now. and i'm definitely not telling people what to buy or listen to. i am pointing out that jazz' growing obsession with its past is hindering its evolution into a meaningful music of the future. jazz of previous eras is more interesting to many because perhaps it had more social context and weight than today's music does. but currently there's actually quite a bit of space for modern jazz-derived or jazz-influenced musics played by today's musicians to make a significant social impact. and i'll also add that i'm one of the guiltiest parties. i have all sorts of Mosaic boxes and other compilations ... but i rarely listen to them. what i do listen to is recent releases. more often than not , i'm disappointed, but i'll keep trying because that's how the economics of enabling innovators to innovate works.
  11. maybe you should ask the question: who's making all the money off these endless re-celebrations of the music of Satchmo, Bird, Miles, Monk, Mingus, Trane, etc. it isn't the artists, they're long gone. if it's live, like Mingus Big Band, then cool, musicians who need the money get paid for the gig. if it's just more reannotated recompilations of multiple existing compilations of remastered digital masters of vinyl ... you gotta ask the question: how come the average jazz musician can't pay the bills ? part of the answer is that this deification of a few great artists puts much of the jazz buying public into an obsessive-compulsive mode. they don't want to take risks. what's the risk in another Miles or Trane session ? none. it's all great. but how does that help cats who are alive today trying to survive making music ?
  12. i have no knowledge of Previte's finances. however, before spending $1000s on every Miles box extant you might want to consider a living jazz legend by the name of Freddie Hubbard who can no longer play and reportedly is in financial trouble. there are hundreds of Hub dates as leader and sideman to choose from, many are some of the best jazz and funk ever layed down.
  13. just curious ... why are you guys so concerned about Miles reissues specifically ? i've got so much Miles i'll probably never listen to it by the end of my life. in fact, it's even worse than that. because i don't take notes when i'm listening to live Miles, i can't even remember which tracks are the really good ones. so it's not like i can go back and quickly figure out the best tracks to plug into when i need a Miles fix. it's like these guys who collect tapes of live shows. eventually, they end up with so much they have no idea what to listen to. a lot of them can't even make good recommendations, outside of a few gems. they get confused, people start relying on lists on websites -- not necessarily having any relation to your personal preferences. place Miles in the large spectrum of jazz musicians whose music is either unobtainium or worth its weight in platinum , and Miles got by far the best treatment of anyone. relatively speaking ... beyond what he deserves. all this money spent on reissued / unissued Miles would be much better spent supporting those amazing musicians making their living day-by-day from self-produced and marketed music.
  14. I had to work, didn't make it. Did it sell out both sets ? That's what it looked like Ticketweb was saying, but you never know what the really story is. I thought it was interesting that in SF it was 2 long sets for about $30 from TicketWeb (maybe even cheaper at the door), but (according to TicketWeb) at Kuumbwa it was about $30 each set. Well, at least neither place requires that you buy drinks (or at least Kuumbwa didn't last I was there). How was the crowd ?
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