JAZZ Music
- Thread starter Zing
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Advice from Thelonius Monk:
:text-link:
Some good ones in there, especially that last one, and also "make the drummer sound good!" :laughing-rolling:
:text-link:
Some good ones in there, especially that last one, and also "make the drummer sound good!" :laughing-rolling:
Those were good! :handgestures-thumbup:
Advice from Robert Fripp (who is notoriously hard on drummers):
1. Any existing solution to a problem is the wrong one absolutum, obsoletum.
2. If you have an idea, don't play it.
3. When a change in the music needs emphasis, don't play it: the change in the music is emphasis enough.
4. Don't phrase with any other member of the band unless its in the part.
5. Phrasing in the part should include no more than two people.
6. If the tension in the music needs emphasizing, don't. The tension is there because of what you are playing, not what you are about to play.
7. If you really have to change your part to build tension, don't add - leave out.
8. The maximum amount of tension you can add is by stopping completely.
9. If there is space for a fill which is demanded by the music, don't play it; there are three other people who would like to use that opportunity.
10. If the part you are playing is boring, stop listening with your head.
11. If this still bores you, listen to the interaction between all the parts.
12. If this still bores you stop playing and wait until you are no longer bored.
13. Do not be dramatic.
14. Do not be afraid to repeat yourself.
15. Do not be afraid to take your time.
:happy-smileygiantred:
Advice from Robert Fripp (who is notoriously hard on drummers):
1. Any existing solution to a problem is the wrong one absolutum, obsoletum.
2. If you have an idea, don't play it.
3. When a change in the music needs emphasis, don't play it: the change in the music is emphasis enough.
4. Don't phrase with any other member of the band unless its in the part.
5. Phrasing in the part should include no more than two people.
6. If the tension in the music needs emphasizing, don't. The tension is there because of what you are playing, not what you are about to play.
7. If you really have to change your part to build tension, don't add - leave out.
8. The maximum amount of tension you can add is by stopping completely.
9. If there is space for a fill which is demanded by the music, don't play it; there are three other people who would like to use that opportunity.
10. If the part you are playing is boring, stop listening with your head.
11. If this still bores you, listen to the interaction between all the parts.
12. If this still bores you stop playing and wait until you are no longer bored.
13. Do not be dramatic.
14. Do not be afraid to repeat yourself.
15. Do not be afraid to take your time.
:happy-smileygiantred:
malsackj
Well-Known Member
May 19 the Passing of Bruce Lundvall !
Bruce Lundvall (September 13, 1935 – May 19, 2015) was an American record company executive, best known for his period as the President and CEO of the Blue Note Label Group, reporting directly to Eric Nicoli, the Chief Executive Officer of EMI Group.
Blue Note CEO and producer passed signed a wide array of artists, including Richard Marx, Willie Nelson, James Taylor, Herbie Hancock, Dexter Gordon, Woody Shaw, Stan Getz, Wynton Marsalis, Dianne Reeves, Natalie Cole, Cassandra Wilson, Anita Baker, and Norah Jones. He headed the following labels: Blue Note Records (jazz), Angel Records (classical), and Manhattan Records (adult pop).
Bruce Lundvall (September 13, 1935 – May 19, 2015) was an American record company executive, best known for his period as the President and CEO of the Blue Note Label Group, reporting directly to Eric Nicoli, the Chief Executive Officer of EMI Group.
Blue Note CEO and producer passed signed a wide array of artists, including Richard Marx, Willie Nelson, James Taylor, Herbie Hancock, Dexter Gordon, Woody Shaw, Stan Getz, Wynton Marsalis, Dianne Reeves, Natalie Cole, Cassandra Wilson, Anita Baker, and Norah Jones. He headed the following labels: Blue Note Records (jazz), Angel Records (classical), and Manhattan Records (adult pop).
Just finished listening to this - Midnight Sugar, on (2 ch) SACD. Very nice recording, clean and well balanced. One of the better jazz trio recordings I've heard, especially the bass, though I thought the drums were a little under-stated. Just my opinion.
The piano sounded like a Yamaha, would make sense given this is from Japan. Bright, brittle, tinny when pushed harder - everything I don't like about Yamahas. (Though according to my piano teacher, who was also a piano dealer for a long time, this is changing in newer Yamahas.) Fortunately, most of this album is fairly mellow so it mostly wasn't an issue.
Mostly I put it in this thread because it's very good music! I wasn't sure what to expect from a Japanese jazz trio, but they don't in any way sound like they're TRYING to sound like American jazz musicians. They've just got it, I'd never know from the music that they're anything but a standard albeit slightly contemporary jazz ensemble. Maybe that sounds racist/"nationality-ist"/whatever and I apologize... but that was my thought as I listened.
I especially loved the final track on this, one of the two original compositions of Yamamoto (the pianist). He does some fascinating (see Zing I didn't say "interesting") things with the rhythm in the left hand. I tried to figure out what exactly he was doing, I think he's playing chords in 3/4 time over the main time signature in everything else (right hand, bass and drums) that are in 4/4. That's damn hard to do (speaking as a pianist) when the right hand isn't regular eighth notes or whatever, but a normal jazz line. I am very impressed, and enjoyed it immensely.
Anyway, thanks to Dennie and Botch for the recommendation on this one.
I missed that, will have to listen again. I've done that in college jazz band, could make it work but it wasn't "relaxed". My high school band director could tap out 3/4 against 4/4 with his two hands, I could never do it. The intro and verses of the Police's Murder by Numbers features Stu playing in 3/4 while the rest of the band plays in 4/4, it works there very well.PaulyT said:
I can do 2 against 3, or 3 against 4, when it's even eighth/quarter notes, that happens fairly often in classical piano. (Especially Chopin, though he goes crazy with it with passages of 11 or 13 or whatever, but they're really not meant to be played in a perfectly metered fashion.) But to play a melodic, rhythmic line in one hand in 4/4 while doing chords in 3/4 in the other, that's a different thing.
D
Deleted member 133
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I've been adding a large number of Blu-ray Audio discs to my collection lately (see my previous postings on prog rock) and a good number of those have been jazz / jazz-ish.
A few have been by Miles Davis including the amazing "Ascenseur pour l'echafaud." It's a soundtrack for a movie (by that title) which he created on December 4 & 5, 1957 as he watched a silent copy. The ultimate 'I'm going to have a scotch / glass of wine and just chill" music!
I also added two "classic" jazz / bossa nova titles that I could not believe have been absent from my collection until now: the multi-award winning "Getz/Gilberto" by Stan Getz and Joao Gilberto (with the signature track "The Girl From Ipanema"); and Quincy Jones' "Big Band Bossa Nova" with the immediately-recognizable "Soul Bossa Nova" track leading off. Don't recognize the title, let Mike Myers help you...
A few have been by Miles Davis including the amazing "Ascenseur pour l'echafaud." It's a soundtrack for a movie (by that title) which he created on December 4 & 5, 1957 as he watched a silent copy. The ultimate 'I'm going to have a scotch / glass of wine and just chill" music!
I also added two "classic" jazz / bossa nova titles that I could not believe have been absent from my collection until now: the multi-award winning "Getz/Gilberto" by Stan Getz and Joao Gilberto (with the signature track "The Girl From Ipanema"); and Quincy Jones' "Big Band Bossa Nova" with the immediately-recognizable "Soul Bossa Nova" track leading off. Don't recognize the title, let Mike Myers help you...
That geriatric medication has made marvelous advances?
Legendary jazz bassist, Jaco Pastorius, performing on he piano:
>coff-coff!<
My, this thread got a bit dusty!
This popped up on my EweTube, a good explanation of Trane's Giant Steps, and how it was mathematically constructed over three different keys using the Circle of Fifths. The poster promised two other videos in the series, will post them when I see them.
I learned a few things, and a lot just flew over my head too.
My, this thread got a bit dusty!
This popped up on my EweTube, a good explanation of Trane's Giant Steps, and how it was mathematically constructed over three different keys using the Circle of Fifths. The poster promised two other videos in the series, will post them when I see them.
I learned a few things, and a lot just flew over my head too.
Recently found out my youngest stepson loves jazz.
I had not heard of this because he barely talks to or anyone else but his game buddies.
The was taking to pt/ot last week and asked him what he was listening to and he "you gotta listen to jazz on rainy days".
He's a cool kid.
I had not heard of this because he barely talks to or anyone else but his game buddies.
The was taking to pt/ot last week and asked him what he was listening to and he "you gotta listen to jazz on rainy days".
He's a cool kid.