I disagree, as great as those pieces are, they do not move everyone, and there is not a thing wrong with the people who are not moved.
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Hadrien Feraud is approaching G.O.A.T. status.
- Thread starter Dr. Cheese
- Start date
I disagree, as great as those pieces are, they do not move everyone, and there is not a thing wrong with the people who are not moved.
something sounds off...listened to most of it and it made me feel uncomfortable.
Not being moved to me means indifference.
As I said, I’ve yet to play them for anyone who feels indifferent towards them.
We disagree, and that’s fine.
I agree we disagree because I think all humans believe in beauty, but I do not agree that the definition of beauty is universal. That is where tolerance and appreciating diversity come into play.
Music, as any art, is not an objective truth. It requires education/exposure to art to be able to appreciate it. Of course we're exposed to music everyday if only when shopping (some days I wish I could sue some stores for the music they're playing) so generally speaking we can appreciate western music... up to a point. There's a paper I can't find again which that states that Mozart was the last composer the music of whom could be understood by everyone. Afterwards music got more complex and the 'keys' to it where known by increasingly few people. My wife is Algerian and quarter tones found in arab music were at first... disconcerting.
I also think that the comments on this thread saying HF is off time or playing weird maybe be due to lack of familiarity with this kind of music, with all due respect. I, myself, wait for the day when I can appreciate John Coltrane's work. At the moment it's still too dissonant for me...
For me the difference comes from how I feel as the performer. I can string together a whole host of fancy licks, harmonic chords, quick 'quotes' and embellishments, re-statements in parallel modes and many other technical tricks (albeit not at the level of those guys). But I rarely feel like it is me presenting myself to the audience through the music so it feels somehow like faking it. So I don't do it very often. But when I play Bach I have no choice but to lay myself bare through the music and the instrument. It is a totally different experience which translates to a fundamental honesty of expression to the audience. There is never a question of them liking or disliking it but no-one ever complains.
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Totally agree. I was raised on Bach (CPE and JS), Mozart, Haydn, Handel, Tallis, Beethoven and the like, which perfectly explains my post above.
I was raised on those composers as well, always nice to give CPE Bach a nod he’s a great composer in his own right!
I stick mostly to classical and blues these days, and of course rock, but I will give anything a chance to offend me ha!
Mahler ain’t so bad either!
It's just different tastes. I find those pieces to be arpeggiator sequences before there were arpeggiators. But things I like would put others to sleep. This is what I would consider "perfect" music:
If you make it to the trumpet solo, the double high E is reportedly one of the two highest notes played in drum corps history.
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I like that because I understand the language, including everything played by the soloists in the ad-lib sections and all of the modern references. I can imagine myself being 'drawn into' a performance at a major venue by a significant orchestra and loving every second of it. Thanks for posting, Rich!
Someone explaining the works of JS Bach on TV said (quite rightly IMO) that Bach's music is not just music but also the manual to scales, intervals, etc. So listening to Bach is indeed like RTFM of music.
back to ferraud.
he's seriously a bad m-fer.
that being said, i don't really hear anything new that i haven't heard a lot of other people doing (or variations thereof).
in my mind it's very much the current style of how a fair amount of guys play.
(here's where people will get mad.)
for **my** aesthetic, i really wish people who played like this left space, or played long notes, or changed their articulation, or used repeated notes. i don't really hear phrasing or punctuation. i hear a lot of evenly played notes. (prodigious yes, but not interesting to me.)
and goat? besides not knowing how to define the criteria that goes into that . . . not for me.
he's seriously a bad m-fer.
that being said, i don't really hear anything new that i haven't heard a lot of other people doing (or variations thereof).
in my mind it's very much the current style of how a fair amount of guys play.
(here's where people will get mad.)
for **my** aesthetic, i really wish people who played like this left space, or played long notes, or changed their articulation, or used repeated notes. i don't really hear phrasing or punctuation. i hear a lot of evenly played notes. (prodigious yes, but not interesting to me.)
and goat? besides not knowing how to define the criteria that goes into that . . . not for me.
This is my view. It is more than just music.
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Hadrien Feraud may be the Jazz G.O.A.T., but MonoNeon is the most original bassist on the scene. Even when I don’t get him, I know he is doing something most people would never have thought of.
Hadrien Feraud may be the Jazz G.O.A.T., but MonoNeon is the most original bassist on the scene. Even when I don’t get him, I know he is doing something most people would never have thought of.
Hadrien is just superb. I can't think of anyone who has his technical ability in fingerstyle playing. Not only is his speed and precision simply mind blowing, but his harmonic and melodic approach is great.
I had remember getting John McLaughlin's 'Industrial Zen' when it came out in 2006. I was just finishing high school at the time and there was a bit if a buzz about the record, both on Talkbass and elsewhere, as word started to spread about this amazing young bassist that McLaughlin had uncovered. It was telling that a seasoned pro like Matt Garrison, who did bass tracks on other pieces on the same record, did not make an impact on me like Hadrien did on 'For Jaco'. McLaughlin's nephew, Tony Grey, also played bass on a couple of pieces on the same record.
If there is anything I lament it's that Hadrien had not really had a gig like that since. We really need some big ticket jazz fusion records for him to play on!
I had remember getting John McLaughlin's 'Industrial Zen' when it came out in 2006. I was just finishing high school at the time and there was a bit if a buzz about the record, both on Talkbass and elsewhere, as word started to spread about this amazing young bassist that McLaughlin had uncovered. It was telling that a seasoned pro like Matt Garrison, who did bass tracks on other pieces on the same record, did not make an impact on me like Hadrien did on 'For Jaco'. McLaughlin's nephew, Tony Grey, also played bass on a couple of pieces on the same record.
If there is anything I lament it's that Hadrien had not really had a gig like that since. We really need some big ticket jazz fusion records for him to play on!
Hadrian is on that list of 'folks who have amazing fluency in a style/approach I have no interest in'. Perfectly valid to say 'not my thing' but man ... the work involved/skillset is something to respect.
Mononeon and Thundercat make hairs stand up on my neck. My non-scientific, quasi-mystical barometer for all things 'good'.
Really going out on a limb there with that observation, eh?
The thing about guys like Feraud -- by which I really mean, youngsters -- is that they never knew a world that didn't have Jaco in it. For those of us "of a certain age" there was that whole paradigm shift when Jaco appeared on the scene, and it can be incredibly difficult for us to imagine a world where Jaco's playing didn't totally throw a wrench into the works of the status quo...but for a kid like Feraud, Jaco was just another influence to absorb and mine. In some ways I wish I could be that...eh, naive isn't quite the right word...perhaps innocent? Or maybe just open.
Not trying to disparage the hard work that Feraud clearly has put in, nor his gift of talent. Just saying that his "inspiration" -- regardless of who it is/was -- probably came packaged in a different way than yours or mine because of when he started playing/listening.
Really going out on a limb there with that observation, eh?
The thing about guys like Feraud -- by which I really mean, youngsters -- is that they never knew a world that didn't have Jaco in it. For those of us "of a certain age" there was that whole paradigm shift when Jaco appeared on the scene, and it can be incredibly difficult for us to imagine a world where Jaco's playing didn't totally throw a wrench into the works of the status quo...but for a kid like Feraud, Jaco was just another influence to absorb and mine. In some ways I wish I could be that...eh, naive isn't quite the right word...perhaps innocent? Or maybe just open.
Not trying to disparage the hard work that Feraud clearly has put in, nor his gift of talent. Just saying that his "inspiration" -- regardless of who it is/was -- probably came packaged in a different way than yours or mine because of when he started playing/listening.
That’s a great observation, Bob.
