I do love that tune most of all Ornette's ouvre. Ever hear Helen
Merrill's version?
I would say that what Cherry had here (Lonely Woman) was the expression
of the inarticulate. Valid expression but somewhat volatile. I mean
how often are you able to be articulate about inarticulateness? It
can't be intentional because then, it's about acting.
More akin to Dubuffet's concept of L'Art Brute.
I played with Misha Mengelberg once and had a very stimulating
conversation after. He said one thing that I've held since. I
paraphrase. He thought Ornette was necessary for Jazz after Charlie
Parker in that he humanized it again.
Jerry
Gerald Berg
On 3-May-07, at 3:55 PM, Christopher Smith wrote:
On 3-May-07, at 2:31 PM, dhbailey wrote:
Darcy James Argue wrote:
I would have hoped that Ornette Coleman getting a well-deserved
Pulitzer this year would finally put an end to ignorant, knee-jerk
dismissals of him and his associates. I'm greatly disheartened to
see that's not yet the case.
What, we're not allowed to criticize someone we don't like?
I've always been disheartened by knee-jerk approvals of garbage.
I didn't like Cherry's trumpet playing from a technical point of view,
but he WAS able to communicate as a musician. Check out Ornette's
first album, "The Shape Of Jazz To Come", and tell me that "Lonely
Woman" isn't a passionate, expressive work.
Jimmy Guiffre wasn't a stellar clarinetist, either, but my jaw dropped
when I heard a duo album he recorded with Paul Bley (the title escapes
me now). Gorgeous, concise, fantastically-constructed improvisations
without the tons of notes that usually characterise modern
improvisations, that made you completely forget the weedy little sound
he had.
Both of them fantastic musicians, not the greatest technicians. I
wouldn't dismiss either of them.
Christopher
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