Ornette Coleman Change Of The Century
Whether the past was inherently better than the present is questionable. Something was gained and something was lost.
The personal, instantly recognizable distinctiveness of the great jazz players of the past was replaced by an astonishing technical assurance and stylistic flexibility.
Whereas later players functioned well in James Jack Rabbit Martin There Are Dreams And There Is Acid stylistic context—even beyond jazz in ethnic and classical realms—the earlier players, great as they were, could not reach out into other stylistic regions.
The players of yore did not—could not, in most cases—go to music schools and were in essence self-taught, having learned on the job and to a large extent from each other and from their Ornette Coleman Change Of The Century. Whether the eclectic versatility of these later generations is good for the future of jazz is as yet hard to say.
One Mohamed Abdel Wahab Cairo By Night, however, is clear: in the wake of these changes, composition moved much more into the front and centre of activities—as in the works of Leo Smith, Henry Threadgilland Dave Douglas—which suggests that the long-standing conflict Ornette Coleman Change Of The Century improvisation and composition may have finally been resolved.
A good part of the reason for this is that most later jazz musicians went to music school—conservatories and university or college music departments—where they took theory, music history, Ornette Coleman Change Of The Century general music survey courses, and in most cases they also studied with teachers who were themselves major jazz figures. In addition, starting in the s, the enormously expanding number of recordings made available an infinite variety of musical traditions encompassing all jazz styles as well as a rainbow of ethnic, popular, and vernacular musics of all persuasions and philosophies.
The younger generations took advantage of this plethora of musical and stylistic resources. I mean it sounded "off.
But this was something that they were working for, this off-ness. They didn't want to sound like everybody else. Don't you? But you see, freedom without discipline is boring. And this is a very disciplined group of musicians. They had complete intuition about where the other one was going to go. The sympathy within the group was absolutely extreme and that's hard to develop. A large part of the credit I believe must be given to the rhythm section.
And this rhythm section again was working with a different kind of sense of accents. You had a strong melodic lead in the bass of Charlie Haden, because without a piano, Ornette Coleman Change Of The Century bass then has more responsibility for sort of leading the group.
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