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Originally Posted by Stackabones
That is right on the money.That's why I love my hero(es) so much.A true master can take you way out to the darkest depths of your mind and then gently bring you back home.While some very skilled yet less experienced players can leave you hanging in some weird places.
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09-05-2009 02:52 PM
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Originally Posted by Metal Fingers
Last edited by gremboul; 09-05-2009 at 04:07 PM.
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The Derek Bailey book is a good one---I enjoyed his approach to it, a fresh one. He may say some things in there that aren't everybody's cup of tea, but he wasn't a charlatan...
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Originally Posted by gremboul
Even if you don't dig Derek you can get some great ideas from him. He was an expert @ mixing fretted notes w/ harmonics and that is something that someone like Bill Frisell has used a lot in a more "inside" approach. His book on improvisation is interesting reading and he comes across as both intelligent and analytical. I believe he passed a few years ago.
=-) PJ
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Originally Posted by P.J.
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I don't understand the premise of this thread. The music I heard was not what I would call "outside" playing because there is no evidence of "inside" playing. His "sonic rambling" was without a tonal centre and had a very weak form and structure which did not develop into anything. You can easily hear this by randomly moving up and down the recording... there is no discernable difference in character anywhere along the track.
In order for a phrase to be heard as "outside" it must be played against an "expectation" of an "inside " phrase. Outside playing adds tension, excitement and surprise by extending a phrase outside of its harmonic context... a colourful leap into unexpected territory. I'm afraid that Derek's composition did not present enough form or structure to generate any expectation what so ever.... so where is the outside playing? And frankly, I also found it to be a poor example of free jazz.
I wonder what that audiance really thought?
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again, i suggest you all read up on what derek was trying to do. though he hung with some jazz musicians, he's not calling it jazz.
check out his album "aida"-- very interesting piece of solo guitar that really adheres to no standards as far as time, melody, or chord progression. it's not as easy as it sounds-- i give the guy a lot of credit.
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