Black Music (AkashiClassics: Renegade Reprint Series)
Language: English
Pages: 240
ISBN: 1933354933
Format: PDF / Kindle (mobi) / ePub
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is, in fact, the real note, or which line the real line, i.e., the one that would be called for on a chart. Also, the rest of the group, especially Elvin Jones and McCoy Tyner, can scare you to death. There seems no doubt in my mind now that John Coltrane is the most impressive voice on the tenor saxophone of our times. And I say this with only a hesitant look over my shoulder in the direction of the Jazz Gallery where it is rumored that the old man of the mountain, Sonny Rollins, will soon
(And it is exactly because someone like Oscar Peterson has instinctive profundity that technique is glibness. That he can play the piano rather handily just makes him easier to identify. There is no serious instinct working at all.) To my mind, technique is inseparable from what is finally played as content. A bad solo, no matter how “well” it is played, is still bad. APHORISMS: “Form can never be more than an extension of content.” (Robert Creely) “Form is determined by the nature of matter….
York, there is a growing younger jazz audience who doesn’t especially want to spend any money to hear the tired sounds the clubs are sponsoring. Of the loft concerts, two of the most recent, and undoubtedly the best, I’ve heard have featured the same group: a “pick-up” trio composed of Don Cherry, Wilbur Ware and drummer Billy Higgins. Hearing this group, one could only wish that they could somehow remain together. The music they made was simply beautiful. Each man is a very singular stylist and
and by implication to the whole of the music. Cecil is a fantastic soloist, but his compositions demonstrate how this changed music will be preserved as a notated music. Cecil seems much more conscious of the possibility of his music being played by others than Coleman. Ornette’s compositions, like Charlie Parker’s, are issued from a musical mind much more controlled by the exigencies of solo performance, and the constant variation of purely extemporized music. Most of his tunes seem to have come
disposal any pianist, or man, for that matter, might learn something from. Down Beat says that Bill Evans is the most influential pianist of the moment.* I would suppose, by that, that they mean in their editorial offices. Monk’s influence permeates the whole of jazz by now, and certainly almost none of the younger wizards just beginning to unfold, and even flower, have completely escaped Thelonious’ facts. Young musicians like Cecil Taylor, Archie Shepp, Ornette Coleman, Don Cherry, Eric Dolphy
