"As Alien As" [Wrong Planet Jazz].

[jancivil]

I am the 1%!

Elitist!


thanks for saying so

[ChamMusic]

'this is the handshake between Varèse and Zappa'

Great phrase! Yes, I can hear that!

Damn, wish you hadn't mentioned Zappa...I've got this sudden , irresistible urge to listen to Conehead! Why that particular, f###### song, I do not know...it's in my head as I type and I haven't heard it for decades!

[jancivil]

There is a version up at Youtube where he does it with the '78 band and solos with the rescued Hendrix strat (burned at Miami iirc)...

[jancivil]

Oh, and thank you, Frantz.

[jancivil]

I do not consider myself as at the front of any 'guard' [...]

That being said, I do consider what I'm doing as 21st century music, and not 20th c.

Duly noted. I'm not a fan of strongly categorizing music but "avant-garde" was one of the few I grasped the concept of, and I saw someone else suggest that genre in reference to your piece here.

Such terms are suitable for the person that has to put records in labeled bins at the record store. Teh "avant-garde" bin is a bit of a ghetto.
But one may find themselves in such good company there anyway.

[ChamMusic]

There is a version up at Youtube where he does it with the '78 band and solos with the rescued Hendrix strat (burned at Miami iirc)...

Just had a look / listen...forgotten what a good live band they were.

[jancivil]

whenever he gets that Strat out, it's eerie. He seems like he finds it dangerous. Drenched uncharacteristically in reverb helping the effect. But clearly HEAVY VIBES, such strong vibrations off that axe.

[jancivil]

https://www.youtube.com/watch?v=aDr4NmDZhv0

out of this world

[jancivil]

At times, the jazz-influenced elements took me back to moments in this:
[Mingus, Ysabel's Table Dance.

I guess you mean the contrast where it breaks into swing from something that doesn't.
I think the last time someone said 'reminds of Mingus' (I've actually heard little of Mingus, maybe reading about the guy scared me off. I spent a lot of time in bookstores though I won't say why.) was:

https://www.youtube.com/watch?v=1FK-RZWgwJk

[ChamMusic]

At times, the jazz-influenced elements took me back to moments in this:
[Mingus, Ysabel's Table Dance.

I guess you mean the contrast where it breaks into swing from something that doesn't.
I think the last time someone said 'reminds of Mingus' (I've actually heard little of Mingus, maybe reading about the guy scared me off. I spent a lot of time in bookstores though I won't say why.) was:

https://www.youtube.com/watch?v=1FK-RZWgwJk

Haven't actually read a lot about him..just know that he had a fearsome reputation for flying off the handle and sometimes getting seriously angry.

I've always loved the feeling of freedom and energy in a lot of his recordings - that sense, (even if sometimes false), of collective improvisation...sort of New Orleans style in essence with additional depth from the disparate influences that are clearly there so often - Blues, Bop, Gospel, Swing Band,third stream fusions, free jazz etc.

[wagtunes]

OMG, that is right out of 1960s B Spy Movie Intro Credits. I don't know if you've ever done soundtrack work but if not, you'd be a natural at it. You've got that sound absolutely nailed.

This one really took me back to my childhood watching those really badly acted movies.

** EDIT ** Referring to first track in thread.

[jancivil]

That's because practically every composer working at that time (before rock music and so forth had any entry to soundtracks really) was working out of the playbook of Varèse and the Second Viennese School (Schoenberg et al; Schoenberg was teaching at USC or something and this was the factory). For instance I was binge-watching The Virginian when I was in the convalescent hospital on this one cowboy channel and the underscore was totally Zappa out of Varèse. It was kind of hilarious because it was there to create a kind of aberrant psychology profile for the bad guys and the shit they pulled, but having no relation to the mise en scene.

Thanks for checking it out and comments.

[wagtunes]

That's because practically every composer working at that time (before rock music and so forth had any entry to soundtracks really) was working out of the playbook of Varèse and the Second Viennese School (Schoenberg et al). For instance I was binge-watching The Virginian when I was in the convalescent hospital on this one cowboy channel and the underscore was totally Zappa out of Varèse. It was kind of hilarious because it was there to create a kind of aberrant psychology profile for the bad guys and the shit they pulled, but having no relation to the mise en scene.

Thanks for checking it out and comments.

Thanks for the education. I learned something today. But yeah, I picked out that "sound" right away. Really took me back to my childhood.

[jancivil]

Interesting such a different perspective. I didn't have anything in mind except certain tendencies of Varèse overlaying my exploration of a couple of features in Reaktor Skanner, which was an improvisation. And surprising developments (the final section) were possible even with the hard limitation of keeping the fundamental layer.

This is my prevalent modi operandi, I work linearly and make it up on the spot off of an improvised, or at least a very quick, get in and get out of there basic shape, beginning and end not in question and usually it grows from the middle ("Insert Bars"); while I 'write' parts. I said most of this already I think but it's a long slog through the stupid thread.

[jancivil]

Ok, then let's bump this thing, if it's going to be weaponized against me.

NB: there was a fair amount of history there in terms of a backstory for the flaming herein.


But here one may talk about music such as Varèse's, or even Mingus; or things which interest some of us with maybe a more elevated perspective or at least the desire to have a look from higher than some of the other business would tend to suggest is "coming from".

I like this:
https://www.youtube.com/watch?v=eswrq0QToZo

I'm very interested in Ligeti for some time, and have decided to look into it with rather more depth than I thought to in the past. Andreyev is an interesting personality for Youtube. I mean he's no Adam Neely, he's quite dry with no snark or the usual shit which gets you moar viewses.

The density of particularly the mid-to-late 1960s works such as Atmospheres is incredible. One thesis I have on the drive here
A Partial Analysis of “Atmosphéres” by
Mehmet Okonşar
gets a little bit into Ligeti as prefiguring granular synthesis, and supports that contention with the fact that Ligeti worked with Gottfried Michael Koenig in Köln, chopping up and bouncing tape in order to produce, essentially grains, in the late 1950s.

But a primary focus here is the perceptibility of things moving at a rate faster than we can really keep up with aurally and at such a closeness in terms of the vertical frequency; creating a 'fake polyphony' via the former and the micropolyphony by the combination of both or the latter per se. So Ligeti was writing multiple lines in order to create a "cloud"; and rather than work in terms of dissonance and consonance, a conception of clouds versus clearing up.

Anyway, what I'm wanting to do next is work with grains creating pulsation, a very physical presence from the vertical *beating* and have a sort of cloudiness, denseness versus clearing ie., more apparent, rhythmically.