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Discussion Starter #1
For your listening (dis)pleasure :twisted: here is some free jazz from London, Cafe Oto, 2008.
The Spectre Fire Trio.
The line up on this occasion was
Ray Dickaty Tenor Sax, Pete Nolan (Magik Markers) Drums, John Edwards Bass.
We were supporting maverick (sic) USA guitarist Jandek this particular night and it has been, so far, our one and only gig.
http://soundcloud.com/raydickaty/spectre-fire-cafe-oto-2008
 

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Will give this a listen this evening- in the meantime, is John Edwards a double bass guy, Ex-York university, lived in Brighton for a bit... etc.
 

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Discussion Starter #3
Yes John is the Double Bass (virtuoso).....Guy who I believe, lived in Brighton (now for a long time London) As for the York Uni Link, I could'nt confirm that..Thanks for listening.
I have a stack of recordings on my hard drive so slowly I will release into the world via the medium of the interweb...:)
 

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Why does free music always has to be a violent ball of dissonant spunk?
It doesn't

I'm putting together a new approach to so called "free music" - it actually may not be new, other guys might've done it before, but in free music, it's certainly new for me. It's called "dynamics"
 

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My Lips were sore but OK, thanks... Playing like this needs commitment (or I need to be committed..!) plus actual stamina practice.
At the time I used to get together once a week with my band "Solar Fire Trio" and actually practice this type of playing to build up stamina and strength over a 4 hour period.
The whole point of playing like this is to to shed the bull***t and get down to the core or essence of playing and find an inner meaning / spirituality, call it what you will.
As for violent dissonance, well there is anger in there, look at the beautiful world we live in being slowly ruined and one cannot help but feel an emotional response, but through noise there is beauty, a revelation after the storm if you like..
...this particular example was a response to the night we were playing though.
Not all free music has too be like this as I am sure you guys know, it moves through many different spheres.
For another (calmer) approach to free music see my other thread
http://forum.saxontheweb.net/showth...um-Trio-Live-in-Warsaw.-Cello-Drums-and-Tenor...
 

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There's a great interview with Jimi Hendrix in which he's berated by the interviewer for his treatment of Star Spangled Banner. Hendrix looks genuinely shocked & hurt, mumbling- "well I think it sounds beautiful"......
 

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Discussion Starter #12
Thanks Michael, I appreciate your comments.
I also think it's beautiful, and of course everything has it's time and place and in terms of listening pleasure more often than not this style of "energy playing" is best experienced live, although listened to at home at relatively low volumes it can have a very calming influence.....
 

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Yes I like this very much as I'm also involved in such things. One of the things i'm working on with my duo partner is the ability to leave more space and play unison fragments by feel alone. Keep it up.
 

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Yes I like this very much as I'm also involved in such things. One of the things i'm working on with my duo partner is the ability to leave more space and play unison fragments by feel alone. Keep it up.
How is that going? I find that this is the element I'd also like to introduce into such music and the thing that is probably the most difficult.
 

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There's a great interview with Jimi Hendrix in which he's berated by the interviewer for his treatment of Star Spangled Banner. Hendrix looks genuinely shocked & hurt, mumbling- "well I think it sounds beautiful"......
Hendrix was actually quite patriotic. He served in the military and was in favor of the Vietnam War.
 

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Discussion Starter #16
"one man's beauty is another man's noise..."
Anyway, yes leaving space, knowing when to stop, when to start is one of the most important aspects of free playing and one that only makes itself apparent by repeated playing of this sort of music.
Silence is also a (non) sounding musical statement in itself.
When I was studying in London with Eddie Prevost (AMM drummer/percussionist) and author of the book "No Sound is Innocent" he always taught us to be fully committed to whatever we intend to add to a particular piece - also if you have nothing too say, dont say it - force it - struggle with it.
Sometimes one of the hardest things to do in these muical situations is to not play - but to exhibit some patience and wait for the "right" moment.
Of course everyones right ,moment will be subjective but this only comes through practice.
The use of space and melodic fragments is something I am trying to approach with my Osaka Vacuum project as opposed to the full on onslaught of this recording.
On a side note it may be of interest to some the sax/mpce combo for this recording was a Berg 115/2 sms - HR, Mauriat 66R tenor.
 
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