tag:blogger.com,1999:blog-33937439.post116355674005208997..comments2023-04-02T00:39:16.640-07:00Comments on Stochasticactus: The Only Music Worth PlayingPeter Breslinhttp://www.blogger.com/profile/15466530226652452872noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-33937439.post-1163970449011155492006-11-19T13:07:00.000-08:002006-11-19T13:07:00.000-08:00Peter, I live in Prescott.That's between Flagstaff...Peter, I live in Prescott.<BR/>That's between Flagstaff and <BR/>Phoenix. I once worked with a<BR/>trumpet player up there and it<BR/>sucked. He paused for 5 to 10 <BR/>minutes between each tune scour-<BR/>ing The Real Book for the next<BR/>song. He had a doctorate in<BR/>performance, which he new<BR/>nothing about.<BR/> I work mostly out of town<BR/>except I play at The Prescott<BR/>Resort semi-regularly.<BR/> I could sure use a swinging<BR/>drummer here.<BR/> Hope this prints out OK,<BR/>as you can probably tell<BR/>I am a neophyte on the internet.<BR/> Take CareWord-Drumhttps://www.blogger.com/profile/13701574205616084530noreply@blogger.comtag:blogger.com,1999:blog-33937439.post-1163956755398523912006-11-19T09:19:00.000-08:002006-11-19T09:19:00.000-08:00Hey Word-Drum-Are you in Flagstaff? I used to trav...Hey Word-Drum-<BR/><BR/>Are you in Flagstaff? I used to travel through there a lot and caught a small combo at a bar there once near the train tracks, if my memory serves me it was mostly Real Book tunes but there was some interesting playing on trumpet. <BR/><BR/>I think the proximity of Albuquerque, some college and independent radio, and Santa Fe's "high culture" climate combine to make some music a little more known here. The Ornette reworkings I always felt we "got away with" because very few people know OC very well here. That's one of the questionable features of the musical landscape here-- generating a lot of enthusiasm for stuff in my opinion because the audiences have "never heard anything like it" before. It's okay in some ways, but I always felt like to be fair some of the projects I was on should have sold OC or Monk merch in the lobby or at the door. :-)<BR/><BR/>PBPeter Breslinhttps://www.blogger.com/profile/15466530226652452872noreply@blogger.comtag:blogger.com,1999:blog-33937439.post-1163875675384583262006-11-18T10:47:00.000-08:002006-11-18T10:47:00.000-08:00Both of you fellows have a point.How do you copy t...Both of you fellows have a point.<BR/>How do you copy the musical disposition of Rollins in the mid-<BR/>sixties? Spy V Spy is an exciting record. It's not Ornette but might<BR/>attract one to his music. I used to<BR/>play with one of the drummers( I<BR/>love having 2 drummers) Mike Vatcher. Zorn really got him to play.<BR/> I can't believe, Peter, that you<BR/>are doing tributes to Ornette and<BR/>Monk in New Mexico. I live in N. AZ<BR/>and here they never heard of Ornette, Monk wrote 2 songs and<BR/>jazz is something you might hear in<BR/>a restaurant.Word-Drumhttps://www.blogger.com/profile/13701574205616084530noreply@blogger.comtag:blogger.com,1999:blog-33937439.post-1163736839299803522006-11-16T20:13:00.000-08:002006-11-16T20:13:00.000-08:00Hi Larry Love, no, I haven't...this is so far the ...Hi Larry Love, no, I haven't...this is so far the only V5 recording I've heard. Do you recommend Vol.1 and 2?<BR/><BR/>S- I really appreciate your comments re: Rollins in the context he himself created for East Broadway Rundown. The solo statement at the beginning floors me because of its laconic, playful use of space. Then his very high pitched mouthpiece sounds at the end are about as out as I ever heard Rollins, with the great Donald Duck summoning everyone back to two statements of the head. <BR/><BR/>Not losing track of history yet not making everything a museum piece is what I love about "versions" associated with certain heavies but played by others. Steve Lacy's early Monk recordings, Monk playing Ellington, some of the Art Ensemble covers (perhaps Dexterity most of all), Zorn's Spy vs. Spy. There's energy and spirit brought to the proceedings...<BR/><BR/>thanks again for writing,<BR/><BR/>PBPeter Breslinhttps://www.blogger.com/profile/15466530226652452872noreply@blogger.comtag:blogger.com,1999:blog-33937439.post-1163693138344762212006-11-16T08:05:00.000-08:002006-11-16T08:05:00.000-08:00"why bring the repertory idea to so-called free ja..."why bring the repertory idea to so-called free jazz?"<BR/><BR/>Feels almost like the ‘authentic’ performance of the music of the Second Viennese School (which does actually happen now), or those guys who are recreating the performance practice of David Tudor…<BR/>It’s a tricky business, attempting not to loose track of (personal and collective) history (something that’s very important to African American self-definition, for example), but at the same time, not wanting to make everything a museum piece (thus sterilizing it of politics and social history).<BR/><BR/>"Rollins as sound innovator, structural innovator, one of a kind and absolutely original-- no contest. But free jazz?"<BR/><BR/>Just my two cents, but one of the things that I loved about ‘East Broadway Rundown’ is that, in retrospect, Rollins seems ever so… lost is the wrong word… he playing makes it sound like he’s very much aware of those boundaries that demarcate the tradition (I think in a way that may of the free jazz players of that time were not).<BR/>Maybe I’m reading these with corrupt eyes (the record was, as a kid, was my introduction to this way of practicing music, way before encountering Coleman, Taylor, Ayler, etc).<BR/>How do Vandermark’s records compare, say, to Frisell, Lewis, Zorn’s ‘News for Lulu’?<BR/><BR/>S,the improvising guitaristhttps://www.blogger.com/profile/07517613086214719180noreply@blogger.comtag:blogger.com,1999:blog-33937439.post-1163687718475231982006-11-16T06:35:00.000-08:002006-11-16T06:35:00.000-08:00Peter, have you heard vol 1&2 of this series?Peter, have you heard vol 1&2 of this series?Anonymousnoreply@blogger.com