"Free Jazz"

(god, I'm really being an asshole aren't I)

There are plenty of scales used in free jazz; the fact that they're combined and juxtaposed in non-traditional ways (see, for instance, Ornette's harmolodics or Taylor's cellular approach) is one of the reasons why it got called "free" in the first place (which isn't a label that most of these artists would use to describe their own music, incidentally).

For you to just waltz into a thread on a subject that I care about, demonstrate your ingnorance, and summarily dismiss the legion of artists who continue to work tirelessly and for little recompense to keep an already marginalized form of music vibrant and exciting - well that is flatly insulting. We already have one Geir around here.

Neither one of us, but you're being quite insulting I think.

>For you to just waltz into a thread on a subject that I care about, >demonstrate your ingnorance, and summarily dismiss the legion of >artists who continue to work tirelessly and for little recompense to >keep an already marginalized form of music vibrant and exciting - >well that is flatly insulting. We already have one Geir around here.

I had no idea you'd take it all so seriously. But I'm conscious that I'm the new guy here so I suppose I'll keep me opinions to myself on this one.

Define "emotional impact." If you yank an Ornette solo from one piece and replace it with another, from another piece, it will be totally jarring, because Ornette's technique is extremely melodic. You can always follow his lines, hear how he's thinking about the piece. He never (in my listening experience) goes for "shock" effects like screeches, etc., instead building long strings of ideas into a complete (and I mean complete; when he stops, it's because there's no place else to go) statement.

>As for free jazz not being free, I'm just thinking of all those identical sounding Derek Bailey records I've heard. Trying so hard to break through cliches but just sounding like one big cliche 'cos all his playing sounds the same to me.

Derek Bailey is not a free jazz player, or any kind of jazz player. He'd be the first one to tell you that. Yes, it is kind of paradoxical that he supposedly never plays the same thing twice, but you can identify his playing after about ten seconds' listening, but that has nothing to do with free jazz.

"Georgia....on my *scrrraaaaapee* *skronk* mind *picking behind bridge* *five minute improv*"

What makes Ornette free? I dunno, maybe the fact that the dude makes all of his own clothes. Seriously. I've got the Art of Improvisors on right now. Nice stuff.

Speaking of this genre - anybody out there familiar with the Assif Tsahar Trio (includes Susie Ibarra [his wife] and William Parker)? Shekhina is possibly my favorite jazz album ever. It's really pretty incredible.

I really need to get Flower After Flower.

I was lucky enough to see the Tsahar Trio you describe, with Kowald on extra bass, at the Vision Festival some years back.

Lately, I've been listening a lot to 'Mirakle', the trio alb that DB made w/ Jamaaladeen Tacuma and Calvin Weston a cpl of years back - questions abt the 'nature' of improv blahblah just melt away in the face of this totally shreddin', totally funky gtr noize rave-up so fuck tha hatas yah boo

Wot, like Jazz one obtains via MP3s on Kazzazaa/Shareazzaza/slskxxz/Ploppytrader?!?!?!?

I like how this starts out diplomatic and ends up being really bitchy.

And, no, I havent been scared off, but I might wait till I have something constructive to say before I post again...

Who, Broheems and Tracer?

All I can say is that I was stressed out that day from the impending holiday travel, trying to kill some time on ILX (ok admittedly not the best time to be on here), and while out seeking links in an effort to assist the poster who started the thread, I get cross-posted by someone (in curt language) largely dismissing the music. So I got angry, but used language not stronger than many other regular posters have used around here (cf. the Dolly Parton thread where two prominent posters mentioned the desire to have Geir "killed", which frankly appalled me). I mean, the ILM pop mafia would be all over someone claiming that, say, "due to commercial strictures, all pop sounds the same."

When I realized that Parker was a new poster, not a troll, I apologized and encouraged him to stay. Then later, for reasons known to himself, Tracer gratuitously attacks me using ridiculous language like "get a life". This is the second time he's badgered me on a thread, and I'm just not going to take that crap from a drillrod like him.