Cecil Taylor composition solo bass
This was opening for Anthony Braxton's composition 19 for 100 tubas. The piece was originally recorded by alto saxophonist Marco Eneidi, for a sextet with William Parker and Wilbur Morris on basses.
Cecil Taylor composition solo bass
So this is part of Cecil's unit structures concept. A set of pitches written with the letters either up or down from the letter before. It makes it easier to be free with the lines while still keeping them at the core of the music. I sometimes use the lines for thematic improvisation, in other sections I use them to frame sound based ideas. I play every line and every double stop and chord in the piece.
Bumped above Al Will.
I like the "Birdland" quote @6:00.
It brings up an interesting idea: automatic or sub-conscience transcription. Music you just know because you spent so much time with it, but didn't actively try to "learn" or "transcribe".
Somehow, I know a ton of David Holland licks, that I recognize after playing them. I love his work like everyone, but I might list others if asked about my "favorites".
My tastes are pretty old school and I'm not really a fan of very free/dissonant music, so I wasn't going to comment.....but it's cool that you are so into sharing your music and want to discuss it, so here's my take.
I've watched this a few times and find it hard to listen to as the style is not to my taste, but I am hearing different layers the more I watch it. I love that you are so into the performance as I expect you really need to be committed to express all the different textures.
I also think it's amazing that you are doing solo double bass performances in such cool public spaces. (I would love to play there!) It's great that the instrument is seen in such an interesting setting and with such challenging music. It's also really great that you are so passionate about it and committed to sharing contemporary music with people.
Keep on doing what you are doing.
Thanks for listening to this. I know it is not for everyone! I am going to record this today duo with Alvin Fielder. I did a recording in solo tuning on Kousseviztky's bass, too. I also have a nice Johnny Dyani tune called Roots I got from John Tchicai I am going to use today.
I 'dig' this kind of playing & sounding very much.
The expansion of the perception, of preconfigured and therefore limited ideas, with the consequence of leaping into spheres of the unknown shades of human soul can be very rewarding.
I find this a comprehensible path, following the human need to express their 'outer feelings' that are not covered with the 'standard language of expression' of a momentary timeframe. This comes a long way in human history, the magic rituals, through the shoutings in blues music, then new orleans / bebop / coltranes et. al. going into free music … there is always more going on than you can 'understand', grasp consciously.
The general public was always 'shocked' about things that later on became appreciated standarts.
And as more as the music, the sounds, moves away from it's functionality e.g. entertainment, the more concentration is required by the listener.
The same goes for the art you see in the video. You would not expect these paintings to hang in a subway station, but in a museum, where one takes his time to stand still and get into them ...
I find that the YouTube format does not really help with supporting this genre of music, not to mention the noisy technique of filming. Imagining the same performance filmed with 5 cameras, an adequate editing and a good sound would be a totally different thing.
I also think that for this type of performance one has to be physically at the place where things are happening, with all the senses open, not only eyes and ears. The magic has to finds its own ways in order to happen, and is usually not going through a critical, rational understanding about what is going on.
You wouldn't watch 'Man of Steel' on youtube, would you? (o boy, there are some who are), you go to a cinema, and share the big moments with the rest of the audience.
This is an invitation: support you local free musicians: take the money you are going to spend on the next superhero movie, go to their performances and experience something revealingly unique, something that you didn't know before.
uh; I got carried away, but I sometimes have the need of saying things like that ...
Thanks for all those words! I think a strong combination of live and recordings are the best way to experience this sort of music.
An easy way of explaining things is that pitch, rhythm & form are equalized with timbre & dynamics and any other possible sound element.
The detail in much good improvised/new music goes by a little too fast in live performance. A good album with Peter Kowald or Barry Guy will take years to sort out all the details.
The temporal element of the concert reverses the "reception dynamics" of painting and music, the concert, like a high end art book can give you a good general idea of the work, but a recording you can listen to until you "get it" is more like looking at a painting as long as you want in person.
So, yes, go to concerts, but if you spend the time with the great recordings of this music there are rewards there as well.
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