Newsgroups: rec.music.bluenote
Subject: Re: Parker/Lytton
From: kenz@local.host
Date: 25 Jan 93 09:56:07 -0600
Reply-To: kenz@local.host
 <C19qCI.Dw1@news.rich.bnr.ca> <1993Jan22.164655.2163@msus1.msus.edu>,<C1Buvy.30E@news.rich.bnr.ca>
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In article <C1Buvy.30E@news.rich.bnr.ca>, jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas) writes:
>In article <1993Jan22.164655.2163@msus1.msus.edu>, kenz@local.host writes:
>B
>
>  =======================================================================
>|> >However, what do you mean by this electronics-style?  I am not familiar
>|> >with the electronic stuff on FMP.

>|>    What I had in mind, for example, is material like the Hans Reichel LP The
>|> Dawn of Dachsman (among other things he has done) FMP 1140, or Rudiger Carl's
>|> LP Zwei Quintette FMP 1210/20 (with Phil Wachsmann and Stephan Wittwer
>|> performing electronics.  On Ogun, the SOS LP of Skidmore, Osborne, and Surman
>|> is another good example.  Or perhaps the things trombonist George Lewis has
>|> done.  That's what I meant.  Does that help?!
>|> 
>|> Bill Kenz
>
>
>Not really, but that's OK. :)
>
>From Bill Hsu's post, it sounds like the electronics are used subtly
>for percussive effects, for example, which sounds like something I would
>like.  Is this along the lines of what you are talking about?

=======================================================================
       My apologies for not being clearer about my point of reference regarding
electronics, re. the Evan Parker/Paul Lytton LP "Ra" on Moers.  As I listened
to the LP over the weekend, I tried to formulate a more distinct explanation of
what I meant by electronics and what I tend to favor.  I don't want to waste
everyone's time by giving a full description of everything happening on the LP,
other than to comment that throughout 39 minutes of the live concert,
electronics are used to interact w/ Parker's soprano and tenor.  For example,
while Parker is "soloing", you can hear what sounds like sparse electric guitar 
notes.  It isn't really chordal support, rather it sounds like comments on what
Parker is playing.  If you have listened to Derek Bailey, perhaps this sound
comes close to his style.  But also, percussion is played throughout the
concert, sometimes in a more traditional manner, ie. cymbals/snare/toms (if you
have heard any of the recent Cecil Taylor recordings with Tony Oxley on drums,
"Looking, Feel Trio"; "Looking, Corona"; there is some comparison with the
music Lytton plays on this disc.)   And yet, at various times, it sounds as
though the percussion is altered electronically.  It isn't obtrusive, and there
is no use of synths to set up repeating figures or lay down lush tapestries of
sound, or layer upon layer of music like on much of groups like Weather
Report's recordings. 

At the beginning of Side two, bells are played "acoustically," as it were, then
it sounds as though they are also electronically manipulated.  Side two also
has a voice which appears to be mixed through electronics.  

All of this activity is fun to listen to.  It's worlds away from synth dance
music, or music like Tangerine Dream (to pick a fairly well known example). 
Synths/electronics are sort of used to develop lush, soothing, background
music.  Maybe you have heard Miles Davis' "Tutu" recording?  Here synths were
used to lay down virtually all the music except Miles' trumpet.  Marcus Miller
sampled sounds and used those samples to set up repeating figures -- he built
the pieces by using and recording the sounds kept in the synths memory.

I find the more creative use of electronics more interesting to listen to. 
But even solo music on the synth can be enjoyable.  I'm sure others won't
agree, but I still like listening to Sun Ra when he cranks up the synths on
those late 60's early 70's recordings.  When I saw him live a couple years
ago he had toned things down some, but my impression is he was trying to create
a vibrant music, something to catch our attention.  Tangerine Dream or much of
Weather Report's music, strikes me as being rather pallid in comparison. 
That's just my bias, not a judgement on the worth of the music.  Just as I
favor a Joseph Jarman over a Javon Jackson, so the same with artists using
electronics (like Paul Lytton) in a more subtle, interactive sense than those
using electronics as a sole means of creating their music (ie. Zawinal, Marcus
Miller, some of Herbie Hancock's music).  I should mention that I really do
like many of the artists I have made negative comments about.  But there are
differences in the sounds created and purposes for using electronics. 

Forgive the wordiness, but it's hard to explain!
Bill kenz
===================================================================


>Sounds like you guys haven't heard of the Matchless CD with Parker and
>Guy though.  Oh well.
>                        =====================I've not heard of it.  BK===
>Thanks for your help.       ======Hope this actually is helpful!=====

Newsgroups: rec.music.bluenote