lydianchromaticconcept.com

thanks for these thoughts and sounds

and here's the simple honesty which is such pure soul

http://www.4shared.com/file/49700160/ab ... erman.html

b

You know this music so well... thanks again for these... and for always re-introducing the human element when we may seem to have forgotten it.

In "Celebrating Bird" Roy Porter says... "it was the most catastropic recording session... Bird was reall ill" then he stops for a minute and adds "... but if you listen to loverman... nothin' but soul"

Great artists posess this quality of imbuing their work with the passion of the heart.

For anyone who hasn't seen this movie, it's here: http://video.google.ca/videosearch?q=ce ... a=N&tab=wv#

And PS: It wasn't easy to find a few bars of Parker without complex runs. Sometimes people may not hear the feeling for the speed. But they're both present in equal measure - I think.

b

i remember seeing george coleman in ny. can't remember the name of the club, but you went downstairs and it was one of those long bars, and he was at the bottom of the stairs as i entered. he was tuning up and he played a long... very long... low note on tenor. it was just "his sound". and from that moment even after the gig was over i could remember (and still do) the sound of that horn - which seemed to encapsulate everything i ever heard him do on record with miles davis and the quintet.

maybe this is just an artists view of music. but i think i could imagine the same thing for a lot of musicians: one note of miles, one of dolphy, one of coltrane... rollins...

yeah... you're so right.

my new teacher is an old friend (who i played with when i was a drummer).

like you, he's a sax player.

and he's got me transcribing now... arrrrgghhhh.

but it's good for my "soul".

do you happen to have loverman - or just the bridge - as a midi file which i could put into sibelius? then i could slow it down and "hear" it...

that works. thanks...

dogbite has recently recovered from some serious computer virus issues and is therefore late to the conversation. since loverman is one of the first jazz tunes i ever learned, i am curious about the context of the tune in this dialog. the aebersold "ballads" (volume 32 is it?) play-along is where i first heard it and of course this collection has a lovely arrangement of lush life, which is my all-time favorite chart to read and play...

i play loverman in F and have never bought into the "play everything in all keys" admonition; therefore, if someone calls the tune in a different key, i become most unhappy. how much should i beat myself up over this?

s/aka/db

12.5% Norwegian

thank you for this...

the art of anguish. that's what we hear in loverman... the unfathomable ruthlessness that we know exists today as it did then. we recognize it because we've felt it too.

that new york recording is so beautiful in a whole other way than the california session. what is the session called? is it still part of the recordings for dial?

was this ever released outside of the verve compilation? if there were more tracks from that day, it would make sense to hear them together.

last night in toronto: i saw another "parker" - evan. in his long-time trio with barry guy and paul lytton

wow!

is what someone said afterwards. and it's hard to beat that comment. i used to see these guys in london when i was an art student in the mid-70's. they're even faster than they were then, no less exciting, and beating in tune like a human heart.

hearing/seeing music at that level is like going to the therapist and discovering some untapped thread of consciousness still alive in your self.

bird lives!

i just got back from the workshop evan parker and paul lytton gave in toronto's music gallery this afternoon... barry guy was there for a while too.

it was very interesting. and i can report that there's an active and good free improvisation scene here.

i asked evan if anyone in the field has attempted to write a literal or philosophical notation of the new sounds created in this music. he replied: "just because you can write it down, doesn't mean anyone can play it." and as our conversation went on i realized that free improv may be one of the few remaining musics where the aural/oral tradition is completely alive - and the music itself (aside from recordings, which are pale immitations of the real thing) dies with each creator.

b

ps: one beautiful piece they did last night sounded enough like "train and the river" to be a tribute to jimmy giuffre - who they mentioned as an influence today. however as paul lytton said "it wasn't through any intention on my part - the music changes with every listener"