tag:blogger.com,1999:blog-1959286621592188397.post7328252432950517257..comments2024-02-20T07:06:18.516-05:00Comments on Brilliant Corners: Jazz Evolution: Filling Up The Holes by S.G.ProvizerSteve Provizerhttp://www.blogger.com/profile/09757505876939504133noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-1959286621592188397.post-42305248865786699402011-09-03T20:53:29.789-04:002011-09-03T20:53:29.789-04:00Bruno-Thanks for your comments. "To hear the ...Bruno-Thanks for your comments. "To hear the notes that aren't being played in later forms..." Minim, the author of the quote, actually agrees with the notion that people try to play too many notes and I agree with his overall sentiment-listen to the old styles-but I felt there was a false implication to that statement. That's what I expanded on.<br /><br />The question of responding to an audience is a complicated one. What I wanted to address was my own stubborn refusal to acknowledge what an audience was giving back to me; not caring enough whether or not I was connecting with them. <br /><br />It was an attitude endemic at the time-the ultimate symbol being Miles "turning his back" on the audience. During that era, Louis Armstrong was a symbol of "Tomming." It was hIp run amok and, in my view, a wrong-headed take on jazz history.<br /><br />For those toiling in the jazz fields, trees have been falling for a long time without anyone hearing them. It's not such a bad thing to try to cultivate such flora and fauna that will even bother to listen.Steve Provizerhttps://www.blogger.com/profile/09757505876939504133noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-12106748769414737752011-09-03T12:48:08.040-04:002011-09-03T12:48:08.040-04:00Bruno Vasil wrote:
The Playjazz statement at the ...Bruno Vasil wrote:<br /><br />The Playjazz statement at the beginning of your blog and your first comment on that concept, don't appear to be totally contradictory ... knowing the earlier "idioms", which allows the gaps to be filled, or to understand the genesis or foundations of a piece is not the same as playing too many notes...<br /><br />I do understand the failings of just playing too many notes.. some of my favorite musicians use the space between notes with great artistry, but that is not the same as being able to "imply" certain material... <br /><br />In your summary, does your audience's response create what and how you play or does your artistry create how you play ...another words, "If a tree falls in a forest and no one is around to hear it, does it make a sound?" <br /><br />I'd like to hear more of your ideas on this Steve ...Steve Provizerhttps://www.blogger.com/profile/09757505876939504133noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-38371054184979716992011-09-01T22:52:22.393-04:002011-09-01T22:52:22.393-04:00Chalfen link is to the excellent "Salty Dog&q...Chalfen link is to the excellent "Salty Dog" by Keppard.<br /><br />Dave-Thanks. I'm also glad that I could go to your site and hear some of your music. The "voice" thing is so important, isn't it? It's a truism in jazz, and yet it's so easy to get hung up on running scales, arpeggios, etc. that we can stop really listening. It takes very careful, honest listening to get to that voice.Steve Provizerhttps://www.blogger.com/profile/09757505876939504133noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-86346838512685104662011-09-01T21:14:59.471-04:002011-09-01T21:14:59.471-04:00I think you make some great points. It always see...I think you make some great points. It always seemed to me that younger players had a need to fill up space and be line-oriented for some years and that this tendency was not to be discouraged. It was a vein that needed to be exhausted. Only after finding every harmonic crack to explore at the fastest of tempos (an experience that is developmental and good for the improvisor and frequently painful for the listener, if there are any) can the player start to move on and recognize other methods and lessons - less is more, motivic development and start, start mind you, to develop their own voice. <br /><br />Too simplistic?<br /><br />Many of the players I developed with went through this phase (like they began their "jazz lives" at Bird, while still listening to and assimilating Louis, Hawkins, Lester etc). Just an observation, but curious of other opinions.Dave Painchaudhttp://www.mellobrass.comnoreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-84426477573211370532011-09-01T20:53:27.995-04:002011-09-01T20:53:27.995-04:00http://www.youtube.com/watch?v=s_a225aOspQhttp://www.youtube.com/watch?v=s_a225aOspQrob chalfenhttps://www.blogger.com/profile/09456519158892216145noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-72829460178006220242011-09-01T20:52:59.140-04:002011-09-01T20:52:59.140-04:00This comment has been removed by the author.rob chalfenhttps://www.blogger.com/profile/09456519158892216145noreply@blogger.com