soulpope "Ever Since The World Ended, I Don`t Get Out As Much"
Registriert seit: 02.12.2013
Beiträge: 56,509
vorgarten
gypsy-tail-wind
vorgarten aber steve coleman als young lion – wie mag das gemeint sein? eher marvin smitty smith, wobei der ja immer eine persönlichkeitsspaltung zwischen m-base & marsalis hatte
oder robin eubanks, der wohl heute noch nicht weiß, was eigentlich sein ansatz ist.
War nur eine blöde Bemerkung wegen Coleman – den ich halt selten so toll finde wie auf „Jumpin‘ In“, also ich finde ihn ja überhaupt nicht schlecht, aber hier ist er halt wirklich super!
das verstehe ich sehr gut, ich mag diese frühe phase (spät70er bis 1991) von coleman auch total gerne, alle fünf auftritte mit holland auf ecm, die sachen mit doug hammond und das akustische debüt, das ja eigentlich für enja produziert werden sollte. und das duo-album mit holland auf diw. hab gerade dieses interview mit johannes völz gefunden, wo er über die anfänge mit dave holland um 1980 herum und dann über die band erzählt:
S.C.: [that was a]fter he played with Sam Rivers and Circle, yes. I started talking to him about doing something in about ’78 or ’79, but we didn’t actually get together until about ’81. When we started playing together we had these different ideas about what we liked. We would sit down and listen to records. Of course, we had differences. They were sometimes just a matter of taste, many times cultural differences, you know, he grew up in England and I grew up in Chicago. But there were a lot of other things that were obviously common, otherwise we would not have sat down and talked. Okay, so when it comes to making music, he’s telling me why he wants to play with me, I’m telling him why I might be interested in playing with him, you know. One of the biggest differences, to put it that way, was our idea about structure. For him, like I say, he just came out of this free-form and he found it really enjoyable to not give any parameters at all. And I said, “Well, Dave, when you don’t give any parameters, that’s like giving parameters.” And he said, “Well, what do you mean by that? I have the freedom to play what I want!” I said, “If you give somebody the freedom to play what they want they will tend to do the same thing over and over.” He didn’t buy this, in the beginning. I said, “Let somebody do whatever they want over and over, I mean complete freedom, and they will fall into habits and will do the same thing over and over.” Actual freedom to me is choices. J.V.: That’s a pretty restrictive idea of freedom, considering that it’s not you who will decide what you can choose from. S.C.: First of all, there is no such thing as freedom. We’re human beings, we’re creatures of habit. But if we have more choices, the illusion of freedom is greater than if we have less choice. The average musician, if you tell him to do what he wants, or she wants, they’re not going to develop certain skills because they will just fall into what’s easiest for them to do. If you force them out of certain habits, they will be forced to develop certain skills to deal with those things. So we had this argument over and over and over. The argument was really solved by the music itself. Because after we started playing – his approach was to write open tunes and my approach was write tunes with these varying structures, and there was also Kenny Wheeler who wrote mostly from a harmonic standpoint – the music that people heard was a combination of all these approaches. It wasn’t one approach. Eventually, these things started influencing each other and sort of coming together. I saw some points in what he said, and he saw some points in what I said, and so the character of the group was formed. Eventually he ended up doing music almost all of which had some kind of structure, as you can see from his music today. His music started to have more and more structures, he really got into rhythms, because this is what I was into. At the same time, I felt certain advantages of what he was doing and the language that he was dealing with. But actually the language that he was dealing with, I looked at it more as the people who he was influenced by, people like Sam Rivers, who I also played with. It was Sam Rivers who really had this strong open thing happening. But what I discovered was that the people who really played open the best knew structure. I guess what I’m saying about structure is that the structure itself is an influencing factor which you are forced to deal with when you impose it as an organizational factor.
gypsy-tail-windich greife daher ein paar Katalognummern vor:
Keith Jarrett – Changes | Das erschien ja noch vor „Standards Vol. 2“, aber die entstanden beide bei denselben Sessions wie Vol. 1, die Reihenfolge spielt also nur katalognummerntechnisch eine Rolle. Vermutlich gefallen mir die Standards-Alben etwas besser – aber ich freue mich natürlich riesig auf das Wiederhören von „Changeless“ und bin auch auf das Wiederhören mit „Inside Out“ gespannt (das gewiss erst nach dem Alice Coltrane-Intermezzo stattfinden wird
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CHANGES ist ja ein liebling unter den trio-aufnahmen von mir, es hat einen tollen organischen flow, sehr unangestrengt, und ist wirklich komplett unhierarchisch, der fokus verschiebt sich permanent von einem zum anderen. es empfiehlt sich sehr, das mal sehr laut zu hören. problematisch finde ich tatsächlich das cover hier, das sich irgendwie gar nicht mit der musik verknüpft – vielleicht ist es deswegen immer ein wenig unter dem radar gelaufen.
Ja, einer der doch eher raren „mishits“ von ECM ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)