Perhaps because the mash-up was so violent and fresh, the lows can be as epic as the highs. The music starts at a high level but it’s not consistent. What you could get in Wisconsin in the late ’80s is still enough for me today. In high school, I collected everything commercially available. Not included in this survey are bootlegs, alternate takes, or new material released in recent years. Earlier jazz musicians had flirted with many of those elements, but now serious relationships were being consummated. The whole compass of European classical music, rock music with an unabashed backbeat, avant-garde music, atonality, and mixed meter were on the table. The notion of “innovation” usually means, “a fresh way of combining older elements.” Jarrett was one of a generation trying to make a new sound by mixing and matching styles. In interviews, Jarrett can occasionally sound like he drinks that kool-aid himself. Some see Jarrett as nonpareil, a unique being without influences. During this nine year span, Jarrett released 17 LPs worth of material with these musicians, a group informally dubbed the “American Quartet” to separate it from the “European” (or “Scandinavian”) Jarrett quartet with Jan Garbarek, Palle Danielsson and Jon Christensen. They began as a trio without Redman in 1967 Redman joined them in the studio in 1971, the last tracks are from 1976. One approach was taken by Keith Jarrett in consort with Charlie Haden, Paul Motian, and Dewey Redman. Call it from the first recording session of the Hot Fives to the release of A Love Supreme: 1925 to 1965: forty years, and what a forty years it was.Īfter Coltrane, the music splintered into many directions. The continuum from Louis Armstrong to John Coltrane had been an unbroken line, where a certain set of values produced consistently gratifying results.
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