robertoart

The radicalisation of the picture plane from a three dimensional to two dimensional 'surface', should not be equated with a move from 'harmony' to free. The difference between Coubet and Pollock is far greater than the distance between Parker and Coleman. 'Art' has always been the domain of the rich and powerful be it practitioners or academics. Jazz developed in far different circumstances. The history of Art avant-garde negations has and did serve different purposes to those eminating from a specific Black cultural expression in the more compacted social and formal history of Jazz.. Just look at the exclusion and distance Black people have had in 'The Visual Art Story'. Because of social segregation and poverty just to begin with. So called traditional Jazz improvisation and harmony has far greater relevance to the forms and considerations of 'pre-Modern Art' if only in terms of it's huge depth of skill and muscle memory construction - than it does with the Formal 'dumping' of 'Abstract Expressionist' painting, where visual integrity is achieved more through stealth than through preconcieved rules and knowledge. One interesting comparison however might be in the cut between the History of Visual Culture to be adressing 'Nature' and the Modernist turn to be addressing 'Culture'. ie. the 'fully played out and explored' domain of Harmony via Bop and Modal as 'Nature' as opposed to a Free Jazz expression as a 'Representation', where Culture has primacy over Form. As in the perjorative arguments the anti-Shorter guy was making. Whereby he was saying Shorter was merely 'representing something - "Culture' - rather than actually playing something real, ie 'Nature'. Then we have 'two' kinds of representation of 'Culture'. In the differing ways an Evans might be representing 'Culture' - as opposed to the way David Murray might be representing Culture.

Larry Young Trio with James Blood Ulmer on guitar - circa mid-70's. Apparently they played a gig at Berklee at least.

http://www.youtube.com/watch?v=-EDjNG7fses

Personally, I don't think the comparisons between representational and non-representational art and free/experimental - harmony based improv are really useful anymore. And they were misguided at the actual time of their so called relevance anyway. It was a way to analougise Modernism to a point across different artforms. But the things that drove radical expression in Visual Art cultures and those that drove radical expression in Jazz, were different animals. Although the 'modern' world they both existed in certainly influenced them both.

To me, Mostly, the music sounds like empty gestures coming from these guys

Looks like they'll get to it soon

It seems smoking is less popular on Free Jazz covers but here's one,

Me, too. Do you like Mostly Other People Do The Killing and the trio with Halverston and Weasel Walter Larry?

Payton's a rebel with a cause. Perfect! Problem solved! What's the problem?

Good old Van. Now headlining at a 'Jazz Blues and Roots' festival close to you.

Wow. The re-booted Blue Note years. In all their glory

Payton's a rebel with a cause.

http://www.youtube.com/watch?v=6S9eGFOcBEY

Just fast forward to 18.00 minutes or so for the lovely lilting lines towards the end or try this trio performance instead. http://www.youtube.com/watch?v=yP-mRLLIM-Q

Illusions is awesome. The sun went down on this thread too fast.

His group work in Mostly Other People Do The Killing tells another story FWIW. Words can do that.

Has this been done before?

Sounds a bit like a rebel without a cause.

Another great reminiscence from George Benson. I love the youtube comment posted below, "Joe, please, SHH. An icon is trying to tell you stories". http://www.youtube.com/watch?v=hCeIn473W7w

http://www.youtube.com/watch?v=VIcvQgdGrLk

Let's all burn our George Adams records.

Betty Grable Betty Windsor Winnie Mandela