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Bebop Spoken There

Paul Edis: "One of the regulars at The Gala today called me a 'turncoat' and another a 'deserter' - that's a very northern way of displaying affection in response to the news that I'm leaving the area. 'They're vicious down there mind you'. " - (Twitter January24, 2020)

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Hudson Music: Lance's "Bebop Spoken Here" is one of the heaviest and most influential jazz blogs in the UK.

Today Monday January 27

Afternoon

Jazz

Jazz in the Afternoon - Cullercoats Crescent Club, 1 Hudleston, Cullercoats NE30 4QS. Tel: 0191 253 0242. 1:00pm. Free admission.

Evening

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Monday, September 02, 2013

Saxophonists Take Note

Do other North-East jazz-lovers share my wish that modern-jazz saxophonists, not least the excellent younger ones, would feel less frequently obligated to demonstrate their undoubted skill in packing as many notes as possible into improvisations? They are presumably still strongly influenced by bebop era greats and that's fine here and there, but too often I find myself starting to glaze over from what I regard as too many notes.

Mike Jamieson

7 comments :

Anonymous said...

Try Kenny G then! By the way, this has been said before - but the comment was made about MOZART. "The famous complaint of Emperor Joseph II about The Marriage of Figaro - "too many notes, Mozart" - is generally perceived to be a gaffe by a blockhead. In fact, Joseph was echoing what nearly everybody, including his admirers, said about Mozart: he was so imaginative that he couldn't turn it off, and that made his music at times intense, even demonic. Hence Mozart's bad, or cautionary, reviews: "too strongly spiced"; "impenetrable labyrinths"; "bizarre flights of the soul"; "overloaded and overstuffed".

Still, in the end, the reputation of Mozart in his own time was about what it is today: he was considered an incomparable master."

Simon Spillett said...

Yawn...yawn...yawn....heard it all before!

Jazz = freedom of expression = play as you want to play. As far as I know, there is no magic number of notes that comprise a good jazz solo, but if any anoraks...sorry, fans...out there know how many there SHOULD be, I'd be grateful if they'd put the answer on a postcard and....




Unknown said...

Louis once stated: "It's not the notes you play that are importand, it's the ones you don't play"
I rest my case!

James said...

Really? If you don't like 'lots of notes' sax solos, avoid gigs where the repertoire or style is post 1930.
Listening to jazz is subjective, like any of the arts, everyone brings their own experiences and expectations and inevitably hears the same music differently. Some might not understand what's happening at a musical or technical level but still engage with the performance and the broader sound and energy, it's up to you if you're willing to invest in what you hear or just have something familiar and unchallenging that you can dip in and out of.
There's lots I don't care to hear in jazz, but usually it's down to undeveloped musicality or overly developed technique at the expense of the music. Why not spend a bit of time with some more 'modern' records, see if you can get to a place where you can relate to what you are hearing.

Lance said...

There's really no case to answer. Miles played some very emotive solos using relatively few notes as did Chet Baker. Dizzy did the same using a lot of notes. Who's to say one is greater than the other. A musicians uses the tools at his disposal. If that player has practised hard and long enough to attain greater technical command of his instrument he's going to use that technique otherwise he may as well have swapped the woodshed for the pub.

Steve Andrews said...

I did swap the woodshed for the pub, Lance (hic!)...........

Miles Stones said...

The inference that Miles played fewer notes due to a limited technique is mistaken, he had the ability to burn through changes (check out the live albums Four And More/My Funny Valentine), the sparse playing was a conscious, stylistic choice.