As in, the Lee Morgan Sidewinder--like with the first track. Your comments are not helpful in the least; they actually come off as quite smug. His music is already compartmentalized I'm trying to determine which of those albums delve furthest into the arena of experimental dissonance of tones and rhythms. Can you hear the glaring differences between "Blue Train" and "Interstellar Space" and understand why a person might more interested in hearing one over the other at a given point in time?
At the present time, a lack of traditional structure and consonance is not only a point of interest for me, it's my primary interest. I'm currently interested in hearing the least traditional, least structured offerings in each artist's catalog. I'm less interested in hearing a representative sampling of Artie Shepp's work than I am in hearing his least structured albums. Right now I can't tell what you want Several, I don't even consider more than avant-garde.
Some free jazz, but compared to what came later from some of them it's bop in comparison. Never mind the fence-sitters in your list. Free imrpov is what you seem to want, but only Cecil Taylor from that list went there years after Conquistador But don't expect anything like Spiritual Unity or Pharoah Sanders in his wilder moments Shepp recorded also Ballad albums for the Japanese Venus record company in the early 90ties!!!!!!!!!!!!!!!!!!!
This is exactly the type of input I'm looking for, please elaborate! When you say, "but compared to what came later from some of them", what specific albums are you referencing? I can't afford to buy each artists full catalog, so I'm trying to hone in on each artists least structured work.
What would you recommend for Shepp and the aforementioned list of guys if I want to hear their most far out, experimental stuff? I didn't intend to be smug. I just don't think that you can have a sense of an artist's music by listening to one aspect of it. I can hear the differences between Blue Train and Interstellar Space. I also hear the similarities. That's the point I was trying to make. I also included the two links in the hope that you might read through them and perhaps learn more about Archie Shepp's music.
See post 10 in this thread. The only difference between him playing changes and not is where he puts the notes. Everything else pretty much stays the same. Ornette Coleman - Free Jazz it's where the genre's name comes from. Posted by Henry at AM No comments:. I've got a lot of that stuff, so let me know if you're interested. Anyway Gustafsson goes crazy on this record, too, unleashing blasts from his sax that recall his former mentor, Peter Brotzmann.
Don't know why it was released as a double CD whole thing clocks in at 76 minutes or so but that won't bother you, will it? Bag It! Posted by Andrew at PM 1 comment:. But honestly, I know that this kinda a bullshit hipster thing to say, but i legitimately feel that the quality of Japanese experimental music went down by 50 percent when Takayanagi died.
And to me, it still hasn't fully recovered. Don't get me wrong. I love bands like Incapacitants, but there's something special about Takayanagi that everyone else just doesn't have. I can't put my finger on it right now though. Flaherty Corsano duo - Steel Sleet lp. I just got ma grubby paws on Full Bottle and am anxious to spin that shit. Handicapper Horns - Hanson cs. It does feel like it coulda been a Uneven Universe tape. Leroy Jenkins - Solo Concert. Solo Concert I've spilled enough about Jenkins in the past, but this is sublimely beautiful record.
I seriously cannot get enough solo record. I love 'em and this is one of my favs. Noah Howard - The Black Ark. The Black Ark One of my top five lps ever. There's so many things to love about this one. It's fucking intense, but never feels like everything gone off the rails and it's become just random blowing.
The control that all of these guys had is just astounding. Great fuckin' record. The Sound Pool Here's the thing, most free jazz or improv music at the time, while no doubt chaotic, had some sembelance of structure or at least a theme that drove it forward. This has none of that and is a VERY appropriately named record as a result. My first and still my favorite MEV. I think I might've heard it before AMM, but that was years ago. This is release number four in Music 's excellent Document Chicago series.
But its a damn good album anyway and the fact that it was pieced together later is actually pretty amazing as it has a very cohesive sound. From Matt Bauder: In I composed the four pieces for sextet two reeds, two strings, two brass that more or less appear on the disc.
While I was composing I was aware that I was asking the players to play as if their sounds were being electronically manipulated. While writing the music I was thinking of a recording where the before imagined electronic processes would be actually constructed electronically. The music on the disc was recorded in segments with solos and small ensembles and later edited and layered to construct my compositions.
Very little was actually played live with everyone together One of my main interests was non-interaction within a specific texture.
We did this in a few different ways. One was to give instructions to each player and record them separately while not listening to what the others had recorded, and then layering. The beginning is probably the most electronic sounding part. It was made by recording all of the players separately playing long tones, and then I spent quite a long time cutting them into those blips by hand by cursor I guess on the computer. One distinction I should make is that there are no electronic sound sources there is a Hammond organ bass line at the end, but I didn't want to make a big deal out of it by saying that I play organ on the record , and very little signal processing some distortion on the cello, and plate reverb.
All 4 tracks are great. The first track is the most heavily manipulated electronically to very good results. Some of the other tracks offer sputtering squiggly splurty strings and brass, but also some very beautiful long tones, particularly track 4 which actually builds into some dramatic beautiful "fan-fare" type deal. Yo dogz, it's time for some slooooow jazz from nice label locust and the chicago jazz scene.
From AMG who I usually don't trust but here is a pretty straight forward description : Bassist Ajemian and tenor saxophonist Bauder set up their mikes one night on the back porch in Chicago and recorded themselves playing a half hour's worth of quiet sustained tones. Local traffic noise and the buzz of various nearby insects were also captured on the tape, imparting a refreshingly natural feel, far from the pristine claustrophobia of a studio session. The first half of the proceedings was recorded simultaneously on two mini-discs by some friends in attendance, who inserted index markers here and there and subsequently played the resulting tracks on random shuffle.
Both Bauder and Ajemian always bring the goods, Ajemian being probably the quietest bass player you've ever heard. Highly recommended for late nights. Posted by Bonzai Bill at PM 1 comment:. Spontaneous Music Ensemble "Karyobin". Manhattan Cycle My obsession with Leroy Jenkins continues. All of the Revolutionary Ensemble Records from the 70's are essential.
They're rather unqiue in free jazz due to the fact that they aren't based around reeds or horns really. Cooper does play the flute, but even that's a instrument you rarely hear in free jazz. Peter Kowald Quintet. A lot of FMP records tend to get overlooked and this is certainly one of them.
It does have all the tropes of the early FMP records, which is not a bad thing at all. Posted by Tim at PM No comments:. Newer Posts Older Posts Home. Sexy Trippy All Moods. Drinking Hanging Out In Love.
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