3+4+3+4+3+4+3+3+4+3+4+3+4+3+3+4+3+4+3+4+3 without being able to hear. While another drummer and bassist are playing 3+4+3+4+3+3+4+3+4+3. Lock into 24 while the other drummer and bassist lock into 17. Then get ready for 16 bars of 4/4 then back to 24 against 17. Without being able to hear. Or try playing in 3/8 in a piece that's in 15/8 so also counting in groups of 5. Or find a pocket in 20/4 at a tempo somewhere between 60 bpm and 80 bpm. WITHOUT BEING ABLE TO HEAR. Compounded by one's natural desire to create organic sounding musical shapes that are not counting cleverness nor arid mathy stilted constipated mind games.
Such was recording with Jonas yesterday. If anything truly sparky and useable came out of those 6 hours it will be a miracle.
Question: how can a college spend out the wazoo on a state of the art recording studio and have the shittiest studio monitor headphone setup I've ever encountered? It's wrong of me to attribute this to Santa Fe idiocy in general but there it is.
Destination-out crafted a wonderful post titled "A Beginner's Guide to Free Jazz" and while I might not agree with the specific tracks in some cases it's an interesting idea. How do you introduce someone to creative improvised music? It's so contrary to music made for consumption, for life soundtrack or the reinforcement of sentiment. Or whatever. I think the most powerful experiences of collectively improvised music are in live concert settings. But maybe there are recordings that offer a sort of gateway.