Jazz for aficionados
Not intended to sway anyone's point of view; after all, we all like what we like and as O-10 pointed out recently we all grow into genres and appreciation of their uniqueness and different layers. "Noodling" is defined as "aimless musical improvisation". Now, Michael Brecker's opening to the tune "Sysygy" may sound to some as noodling; but it is anything but. Brecker was the kind improviser that never noodled a single note in his career; he was an extremely purposeful improviser. The extended improvisation in the opening of the tune was a deliberate element of the composition. Some may not like or appreciate this kind of improvisation without the harmonic underpinning (comfort?) of the harmony instruments in the rhythm section, but it is a deliberate element of the composition which creates musical tension followed by the release of the tension when the harmony instruments come in. A conceptual choice....improvisation BEFORE the statement of the melody. Moreover, that improvisation sticks to the harmonic changes of the tune. Hardly an aimless exercise. Again, any one of us may not like it, but I believe there is value in, at least, acknowledging the artist's intent and not being dismissive of the artist's vision. This may be of interest: https://m.youtube.com/watch?v=TlEAl3jdn6o |
Frogman - I might not like Syzygy any more after reading your explanation (the intro, anyway) but now at least I have a better sense of what’s going on there. Very helpful discussion. Opens a little window that might also illuminate pieces other than Syzygy. Thanks. Yes, that intro...it surely do create tension! :-) |
Frogman, I noticed all the comments were made by musicians. When I went to see "Trane" live, the professional musician at the table was the only person out of five who knew exactly what Trane was doing, when according to the rest of us he went to the seventh galaxy. (that musician is still with us and performing) Absolutely nothing against the greatness of "John Coletrane", but it has been stated by those of us who are not musicians, that "Trane" had a tendency to "experiment", travel to unknown galaxies during his performances. I didn't understand it then, and I wouldn't understand it now; when musicians travel to parts unknown, it's a musician thing. I'm listening to pilgrimage now, and it isn't inaccessible, it's quite listenable. While I liked all of those musicians, Herby Hancock might be the only one who never lost me; (not referring to this record, but down through the years) "Pilgrimage" is a record I'll have to get. When ever the music gets anywhere near what was referred to as "free blowing" or "loft jazz" I was lost. There is a slim line between improvisation, and too far out; when the musicians speed is faster than his ideas, that's when one of us is lost. Sometime the links require a degree of listening that I don't give them; that means I should listen to them at a better time. |
Ghosthouse, that was thirty years ago when me and the little tyke were at the art museum. I would certainly like to go again, but did you see the steps in front of the museum. The library is even worse, the steps to the first floor are at least three stories high. If you're ever in St. Louis, the price is right (free), but if your legs aren't up to it, ( mine aren't) don't even think about it, that's a big place. |
