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Another example of sticking it to the Majors
Posted: Wed May 14, 2008 10:25 pm
by givemenoughrope_Archive
Marsupialized wrote:'Oh, he rubbed the horn on his erection...what a bold artistic gesture. He's amazing'
Shit, give me a fucking horn I'll be a acclaimed jazz musician tonight.
Be bop biddle bop bip bip toot toot
See? Genius!
That's a goodn. I first started listening to jazz via the free jazz that they'd play on college radio. There IS so much garbage like that. After a while, you learn to hear the difference between what is intended and what isn't really quickly...you go from there...
Another example of sticking it to the Majors
Posted: Wed May 14, 2008 10:38 pm
by nihil_Archive
givemenoughrope wrote:Well he's never tried to play anything as challenging as "Nefertiti" by Wayne Shorter, one of the most beautiful pieces of music I've ever heard.
Totally, dude.
Another example of sticking it to the Majors
Posted: Wed May 14, 2008 10:45 pm
by Marsupialized_Archive
Another example of sticking it to the Majors
Posted: Wed May 14, 2008 11:05 pm
by givemenoughrope_Archive
Ouch.
Yea, I meant the original recording.
http://youtube.com/watch?v=EQfTSBWslfg
Another example of sticking it to the Majors
Posted: Thu May 15, 2008 9:25 am
by NerblyBear_Archive
givemenoughrope wrote:NerblyBear wrote:haven't even listened to any albums post-Bitches Brew. And there's something real, real wrong w/ a situation like that.
Well, there a whole hell of a lot before Bitches Brew too.
Why does everyone love Bitches Brew so much? Is it b/c it's a relatively easy listen for cleaning or driving to? Rewind Miles Davis' band about 5 years and you have some of the best music made.
Forget Bitches Brew. Get Live-Evil.
What about Tim Berne or Julius Hemphill?
Steve Lacy put out some great stuff before he died.
I just listened to album with Paul Motion, Joe Lovano and Bill Frisell on the plane.
We could sit here and list all day, but the fact is that you like classic jazz and there is nothing wrong with that. It's just that there a lot more than what you find in Borders.
I'm actually in complete agreement w/ you.
Bitches Brew is way overrated. Miles' playing is pretty uninspired, and McLaughlin never really busts out like he does on
Jack Johnson.
Jack Johnson is a mind-blow, but I've decided that much of my obsession with that album stems from McLaughlin's fuzz-toned bad-assery, and when that goes, the electric period starts to lose interest for me.
I was mainly using BB as a sort of marker to pin-point the rough date after which any ensuing jazz is pretty much unfamiliar to me. For reasons we don't have to go into.
Another example of sticking it to the Majors
Posted: Thu May 15, 2008 9:51 am
by NerblyBear_Archive
Rick Reuben wrote:Either way, it's horseshit. If you genuinely 'loved jazz', you wouldn't just avoid 36 years of the genre. You can't articulate your objections to the last 36 years of jazz. The truth is this: you never loved jazz, but you found a couple Miles records that are more rock than jazz, and you liked those. Rather than just owning up to the fact that you only like fusion jazz with many rock elements ( like McLaughlin's dirty tone ), you attempt to pass yourself as a 'jazz lover', and then bash the whole genre for not all sounding like fusion-era Miles Davis.
Just say you liked Miles and you don't care for most other jazz. It's unfair to claim that jazz lost its way. You can't be the judge of that. You don't even know what has been released in the past four decades, by your own admission.
I'm a huge fan of lots of jazz, not just fusion-era Miles. To name a few: Louis Armstrong, Ellington, Ornette Coleman, Sonny Rollins, John Coltrane, Bud Powell, Eric Dolphy....etc. etc. etc.
So go away.
Another example of sticking it to the Majors
Posted: Thu May 15, 2008 11:44 am
by givemenoughrope_Archive
NerblyBear wrote:I'm actually in complete agreement w/ you. Bitches Brew is way overrated. Miles' playing is pretty uninspired, and McLaughlin never really busts out like he does on Jack Johnson.
Jack Johnson is a mind-blow, but I've decided that much of my obsession with that album stems from McLaughlin's fuzz-toned bad-assery, and when that goes, the electric period starts to lose interest for me.
I was mainly using BB as a sort of marker to pin-point the rough date after which any ensuing jazz is pretty much unfamiliar to me. For reasons we don't have to go into.
Yea, McLaughlin's tone is pretty clean and spanky on BB. It doesn't have that mid-range of JJ or Bird's of Fire.
For sure check out Live Evil and some tracks from Dark Magus. There is some stuff on there that is crazy...just crazy moments that are somewhere between rock, early funk and end up sound almost krautrock-y at times. I guess that makes sense since he was really into Stockhausen are then also. It's not about the tunes or anything obviously but just great moments. Awesome drums. I dont even know who it is.
Ever heard Electric Masada? Try their live album At the Mountains of Madness.
Another example of sticking it to the Majors
Posted: Mon Jun 02, 2008 11:15 pm
by aen_Archive
DazeyDiver wrote:this new album, the Slip, she is really, really boring.
+1.
BUt I still have ghosts! I swear it's fucking brilliant. Os brilliant I revived this thread.
My thoguht was that if TR wants to make McMinistry records 3 at a time, I don't really feel offended,a s long as he puts out something as amazing as The Fragile or Ghosts every couple years.
Another example of sticking it to the Majors
Posted: Mon Jun 02, 2008 11:48 pm
by madmanmunt_Archive
NerblyBear wrote:Jack Johnson is a mind-blow, but I've decided that much of my obsession with that album stems from McLaughlin's fuzz-toned tight-assery, and when that goes, the electric period starts to lose interest for me.
