[Torn Curtain]

https://www.youtube.com/watch?v=e1DkfphhRFw

[guest]

 

 

thomas koner, nijiumu, pauline oliveros & randy raine-reusch, paul schutze

 

 

[Bytor Peltor]

Borbetomagus at Tusk Festival 2014

[!@#$%!]

we recently woke up so it's a bunch of vintage pop music we're listening to right now-- from 99 luftballons to cibo matto

one can't get too serious in this heat

[Mortte Jousimo]

First time in my life:
Sweet: Give Us a Wink!
John & Yoko/ Plastic Ono Band: Some Time in New York City.

Both are much better than I thought. To my big suprise I really like also Yoko´s parts in sometime. Specially she´s so great in Born in a Prison & Sunday Bloody Sunday. Am I becoming Yoko-fan?

Both albums are really underrated. I think critics of the time when sometime was released just have something against Lennon and when he wanted to do something else than album full of pop songs, they used the opportonity. There are even noise-piece (Au) which I think is the only one in Lennon´s solos. Maybe not greatest Lennon solo, but interest me lot more than Imagine or Mind Games at this moment.

[guest]

 

 

 

 

[Bytor Peltor]

 

Originally Posted by guest

 

NEVER seen this before^^^^^^

[lo-fi suicide]

 

[Severian]

Todd Terje - It's It's Remix Time Time

 

[Severian]

Originally Posted by guest

 

I just bought this the other day, for whatever it's worth.

Right now I'm listening to this Kasami Washington joint, The Epic.

 

I've gotta say, it's good and all, but is jazz "back"? I can't say I'd go quite that far. This is a mighty good, inspired jazz record borrowing from some of the best, but I still think a lot of modern jazz is pretty crap.

[evollove]

Poor jazz. It has to evolve and develop, but then it ends not up really sounding like jazz. What a bitch. Personally, when I put on a "jazz" record and the first thing I hear is a hiphop beat, I move on.

But I'm three tracks into EPIC and enjoying it a lot.

[!@#$%!]

i've been listening to this album repeatedly and i can't get it out of my head

 

(i'm using only the back cover because the front was adulterated/falsified for america)

musically it's a prelude of things to come and it's the first yes album that sounds like yes proper-- the first one is a different animal. this reminds me of jefferson airplane a bit-- same era & what not. a lot of critics haven't like this much-- but bill bruford on drums and chris squire on bass are just amazing together, in spite of the string sections and other orchestral shit larding up the production--so i end up really liking it because of these 2 geniuses.

here's a live version of the opening track, which is a richie havens cover. pre-album because the video is dated a year earlier and peter banks is still in it (he was fired soon after the album was released, after the orchestra did his part). anyway these fuckers were good. ignore all the man with the lady voice and just keep an eye/ ear on the drum + the bass

https://youtu.be/o0t1CDzHdsg

damn!

[Severian]

It's good isn't it? Burnt problem is that it's being touted as something revolutionary, something that proves there is still a vital and virile national "movement" returning the genre to the cutting edge of all music.

And y'know, that's just kind of a sad fantasy. On the upside, there was so much incredible music made during the jazz renaissance that occurred between the the '50s, '60s & '70s that it wasn't possible for every variation on the genre to fully explored or appreciated. This is one area where the whole deluxe reissue trend has really been essential. Just last year I was exposed to The Belew by Hailu Mergia and the Walias for the first time via a beautifully packaged remaster. This got me into Ethiopian jazz and funk from the '60s and '70s, which was great, because I had gone a couple of years without adding any new artists to my jazz collection.

The fact that so much of the jazz music of the '60s and beyond was SO ahead of its time is also helpful, since the rest of music has made greater strides toward catching up with what once sounded like noise to pop audiences.

But you're right, and yeah, it is sad.

I feel a bit silly for saying this but as i was reading your post I was thinking "I'm gonna address the acceptance of jazz into hip-hop, beat, and electronic music!!!" until you mentioned your feelings on the matter.

But honestly, I think that the future of jazz innovation might just be connected with the evolution of instrumental hip-hop, techno and improvisational noise. I'm not talking about obvious cases like Madlib necessarily, but Jazz does need to progress and evolve, and it's experimental by nature. I think trip-hop was definitely a nod to jazz, and I was extremely excited when Supersilent were in the prime of their career (1 - 6). I do actually believe that with the right balance of live instrumentation, sampling and creative beat & production techniques, Jazz is capable of continuing its grand tradition of experimentation and exploration.

Footwork has a very jazz like element to it in my opinion. But, yeah, it's not gonna be the Roots who re-energize jazz. That's for damn sure.

[Severian]

Also, Kasami's sound is more of a confluence of influences than people seem to see. There's nothing new in his style, but he does an excellent job of reflecting the work of an entire generation of classic saxophonists with keen improvisation instincts. It's a nostalgic record to me, but marketing it alongside To Pimp A Butterlfly was a smart move. I doubt the album is blasting from any low riders, but I think a lot of Kendrick Lamar fans at least investigated the record because of Washington's work on TPAB.

Still. Ain't no Revolution goin on. Not yet.

[evollove]

Originally Posted by Severian

But honestly, I think that the future of jazz innovation might just be connected with the evolution of instrumental hip-hop, techno and improvisational noise.

You're probably right. I'm just wondering how much jazz can change before it stops being "jazz." A purely academic musing. And as long as old-timers accept new strides forward, my opinion doesn't matter. I mean, I don't live for jazz like some do, and if they're cool with genre blending, who cares what a casual listener like me thinks?

[Torn Curtain]

https://www.youtube.com/watch?v=Pf7mkhgTcd4

[Severian]

Originally Posted by evollove

You're probably right. I'm just wondering how much jazz can change before it stops being "jazz." A purely academic musing. And as long as old-timers accept new strides forward, my opinion doesn't matter. I mean, I don't live for jazz like some do, and if they're cool with genre blending, who cares what a casual listener like me thinks?

No man, your opinion is more important than the "old timers", and the jazz heads. Those guys are already sold. In fact, a lot of them are such goddamn purists that they probably would write me off as a moron for suggesting that the future of jazz may be in instrumental hip-hop/beat, techno/house and ear bleeding noise improv.

Many of the jazz dudes I know are so into it that they literally don't listen to anything else, except maybe the odd chamber music piece, or maybe My Life in the Bush of Ghosts.

But my point is that it should actually matter less how they feel about it. If jazz is going to grow, it should probably start to freak them out and make them uncomfortable. It's the "casual listeners", the people who love and appreciate jazz but are also open to other sounds and styles, who are going to be able to recognize the brilliance in a backward, upside down and progressive new iteration of the genre, whenever that happens to come along.

Also I consider myself a totally casual listener. I've loved jazz all my life, and it means a lot to me, but I only throw it on once in a while.

So I think you may be undervaluing your own opinion here.

[Mortte Jousimo]

Originally Posted by !@#$%!

i've been listening to this album repeatedly and i can't get it out of my head

 

(i'm using only the back cover because the front was adulterated/falsified for america)

musically it's a prelude of things to come and it's the first yes album that sounds like yes proper-- the first one is a different animal. this reminds me of jefferson airplane a bit-- same era & what not. a lot of critics haven't like this much-- but bill bruford on drums and chris squire on bass are just amazing together, in spite of the string sections and other orchestral shit larding up the production--so i end up really liking it because of these 2 geniuses.

here's a live version of the opening track, which is a richie havens cover. pre-album because the video is dated a year earlier and peter banks is still in it (he was fired soon after the album was released, after the orchestra did his part). anyway these fuckers were good. ignore all the man with the lady voice and just keep an eye/ ear on the drum + the bass

https://youtu.be/o0t1CDzHdsg

damn!

This is also one of my favourites along with Yes Album & Fragile. As you said, I think this is really much underrated. Have you got also this:http://www.discogs.com/Yes-Something.../master/236968
There are great versions from both first yes albums songs, also great cover songs like something coming. Also really interest piece For Everyone, that is kind of preversion of Starship trooper.

I think Bill is greatest drummer in the world. Alan is nothing comparing to him.

[evollove]

Originally Posted by Severian

In fact, a lot of them are such goddamn purists that they probably would write me off as a moron for suggesting that the future of jazz may be in instrumental hip-hop/beat, techno/house and ear bleeding noise improv.

Okay. I have no idea what hardcore jazzheads think about this stuff, I now realize.

I wonder: how much shit did Miles get for In a Silent Way, Bitches Brew, etc? Was the jazz community excited by a new direction, or were these records perceived as blasphemy?

----

I want to be a kind, generous listener, but those YES track titles! Especially side two. Gonna have to listen to this ironically at first.

[!@#$%!]

Originally Posted by evollove

I want to be a kind, generous listener, but those YES track titles! Especially side two. Gonna have to listen to this ironically at first.

it's like i said-- lyrics ruin music!

although joss whedon took the name of his company from a yes song ("mutant enemy", buried in the lyrics of... "and you and i," i think--but i digress).

anyway-- in those early records mentioned, listen for the BASS & the DRUMS. they're *very* intelligently played, and as they got older they got better. later on steve howe & rick wakeman came along & yes achieved full ripeness--every instrument is great and virtuosic and just fucking mind blowing. after bruford left, bloat more or less ensued-- not blaming the new drummer. wakeman left in protest. but even their bloated stuff has its enormously strong points, especially if you hear it less as "rock" and more like "space ambient" or something (talking about topographic now, ha ha ha). no, seriously, these guys were crazy good, even if you can't dance to them.

Originally Posted by Mortte Jousimo

This is also one of my favourites along with Yes Album & Fragile. As you said, I think this is really much underrated. Have you got also this:http://www.discogs.com/Yes-Something.../master/236968
There are great versions from both first yes albums songs, also great cover songs like something coming. Also really interest piece For Everyone, that is kind of preversion of Starship trooper.

I think Bill is greatest drummer in the world. Alan is nothing comparing to him.

i didn't know about this record!