On Mon, 29 Apr 1996, Miles Egan wrote:
quoted 9 lines Why is it that whenever an electronic musician borrows from jazz it's>
> Why is it that whenever an electronic musician borrows from jazz it's
> always the corny middle-of-the-road boring lounge jazz that no real jazz
> head has taken seriously since my father was in diapers? Luke Vibert can
> appropriate this style to good *deliberate* ironic effect, but everybody
> else seems to think they're really jamming. I'd like to hear somebody
> take a good whiff of Albert Ayler or Cecil Taylor up their sampler. Why
> doesn't somebody take some chances?!?!
>
Because they're not really concerned with jazz, have never listened
seriously to jazz, and don't understand the discipline. Mostly they
use their computer sequencers to do transpositions for them, rather
than learn to play on the black and white keys at the same time. It's
a matter of settling for jazz-like rather than jazz.
If you want to sound 'jazz-like' you can do it without much though. Just
add the major seventh to your chords (a major seventh is the note right
below the root note of the chord. For example, C major is CEG, and C Major 7
is CEGB). Then if you transpose up a half step, you sound very
jazzlike.
I've resisted acid jazz as a trend as well because I have a lot of the
blue note records from the late 60's/early 70's that the style is based on,
and they just don't measure up.
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Unintentional Internet Humor (and I'm not making this up!):
"Could someone please define 'AMBIENT' (This question is completly
rhetorical)" -- some guy called 'JPM'
"Why my source is crazy? He play without my hands, and don't hold down
the presets, he change it when he wants, I don't try to use it in any
mode, he starts the sequence or the arpeggiators, who can explain me my
source crazy?" - Daniele Viali
Kent Williams kent@inav.net
(319) 338 6053 (home)
(319) 626 6700 x 219 (work)
(319) 626 3489 (fax)