…why Mick Karin is held in such high esteem.
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Now I know…
- Thread starter Dr. Cheese
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…why Mick Karin is held in such high esteem.
The thing that PDbass did not mention is that Mick Karn was so gifted that he learned all of those woodwinds and the bass by ear. He never even learned the notes on the fingerboard. He had the ability to create incredible music without knowing the language of music.
In my mind if Karn trained like other musicians he wouldn't have had such a unique voice in his playing.
When I listen to Mick Karn I’m reminded of how thoroughly unoriginal my “voice” on bass is. 
He is probably the exception that proves the rule. I remember seeing a video of Marcus Miller at a workshop and someone asked him about the value of reading. Miller’s response was “ are you a genius?” Are you like George Benson, if not, learn to read. I guess he could have said Mick Karn, but his name may not have rung a bell.
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He is instantly recognizable. My favorite fretless playing aside from Manring.
The youtuber should have included Sensitive. I think it's Karn's best work.
The youtuber should have included Sensitive. I think it's Karn's best work.
First heard him with Japan in the early 2000s and I've been a fan since. A true original, I've never heard anyone mix melody and funky rhythm like him. "Still Life In Mobile Homes" is still the pinnacle of bass playing to me.
It's also possible he would have been able to develop an even richer musical palette. Knowing theory didn't hold back Monk, Davis and Coltrane.
mick was a savant. and @pdbass is the bomb! 
Karn is amazing and original. I think the whole theory vs. self taught argument is a non starter.
Look at his body of work, it speaks for itself.
Look at his body of work, it speaks for itself.
Sure, knowledge only provides more tools for creativity. I guess the real point is that there are truly creative geniuses who can make a great impact with little or no formal knowledge. It is easy for newbies to look at the great unlettered players and think that anyone can do it.
Agreed. I mostly take issue with arguments that learning the theory and mechanics of an artform often stifles their creativity. I'm sure it might be true that there are people who feel obligated to paint between the lines once they're taught how, but for someone whose imagination is as wild as Karn's, I don't think that could have happened.
PDBass keeps my ‘need to listen to’ queue filled.
John Giblin and a bit later Pino Pallidino, the UK turned out some nice fretless players back in the Eighties.
Lack of theory or notation knowledge didn’t stop Hendrix from changing the course of the electric guitar.
Karn did study violin as a child, and played bassoon in a student orchestra, which lent itself well to his occasional forays on sax, oboe, and Asian wind instruments. He got around on keyboards well enough to come up some atmospheric pad stuff. He just had great instincts.
Karn did study violin as a child, and played bassoon in a student orchestra, which lent itself well to his occasional forays on sax, oboe, and Asian wind instruments. He got around on keyboards well enough to come up some atmospheric pad stuff. He just had great instincts.
What was that about Percy Jones?
Jones was definitely an inspiration for Karn; the Japan band certainly absorbed alot from Brian Eno(let alone Roxy Music), so it goes with the territory. Karn’s move from a Travis Bean bass to a Wal is telling as well, but he was no imitation.
I’m happy that I got introduced to the band when Gentlemen Take Polaroids came out. Had I heard their early stuff first, when they were a dismal New York Dolls/Bowie wannabe outfit(although learning on the job), I wouldn’t have paid attention past it. But the amazing musical transition happened on Quiet Life, which I went back to, and Tin Drum, whew, that was from another planet.
A bunch of people I had met who were into Be-Bop Deluxe/Bill Nelson turned me on to them, and wouldn’t you know it, Karn would eventually play on a Nelson solo album.
And Karn, like Giblin, played with Kate…
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