On Mon, 5 Feb 2001, R. Lim wrote:
quoted 2 lines I will admit, however, that Anthony Braxton (the guy who Zorn got all of> I will admit, however, that Anthony Braxton (the guy who Zorn got all of
> his ideas from)
Come on Rob, you know Zorn stole all his ideas from Kagel and Ornette ! ;)
And Braxton got a lot of his ideas from Cage and Stockhausen, so...
quoted 1 line finally hit his creative stride during the 80s.> finally hit his creative stride during the 80s.
The 80's quartet with Crispell, Dresser and Hemingway did make some great
records, but I think Braxton also did a lot of great work in the 70's. I
find that his work form the 70's has more of a visceral punch than what
he's done since. And his recent work is godawful imo.
quoted 2 lines And downtown still sucks, for the most part (Susie Ibarra, Rob Brown> And downtown still sucks, for the most part (Susie Ibarra, Rob Brown
> and Marc Edwards excepted).
Yeah, there's a lot of nonsense coming out that scene these days,
especially from people desperately trying to remain relevant, but a
few people are doing good work. I'm particularly fond of Dave Douglas,
although I think he's spreading himself a bit thin these days. I think
he's a really, really talented player. I think Joe Morris is also an
"important" (not so) new voice. And among other people I think Jim
Black is a pretty amazing drummer. Personally I don't think any of the
people involved in that neo-free/power jazz scene are saying anything that
wasn't said in the late 60's or in the 70's. What ? Are they gonna outdo
Coltrane or Ayler or Cecil ?
And speaking of Zorn, I was really excited about Masada at first, but he
just kinda ruined it by putting out like 20 records when he should have
stopped after the first 3. Yeah, they did sound a lot like Ornette's
groups form the 60's, but they were all amazing players (with Zorn being
the weak link, imo) and there was sooo much listening and interaction
going on in that group. And the tunes were really catchy.
Andrei
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