Is you is .. :music:

[Ash]

You'll hate it

Incidentally, when we're talking about noise, atonality, walls of sound etc - where do you stand on, say, Velvet Underground?

I already mentioned European Sun above. I was ok with the Velvets when young and stoned. Less so now, but still like some songs.

[Dr Headgear - Wannabe viking]

I already mentioned European Sun above. I was ok with the Velvets when young and stoned. Less so now, but still like some songs.

Oops! Sorry, missed that entire branch of the thread.

[Dr Headgear - Wannabe viking]

Yes, love his playing. Lays down huge block chords.

This piece from his own trio is one of my favourites. Gorgeous. Seems purpose built for Joe Henderson's tone.

[7sisters]

Did you ever hear Robert Glasper's nod to Miles Davis.
I like Glasper, although many may see it as an abomination.

[Dr Headgear - Wannabe viking]

I tried to listen to that the other day. Not keen at all, think I may just not like his beats.

[Dr Headgear - Wannabe viking]

Indeed.

I may have to abuse bernie for being a disgusting flatviewer. Totally ****s up any and every threaded view, the ****.

[SWv2]

Hmmmm....

Work Song was one of the more straight ahead hard bop tunes. Lot's of notes, sure, but very few breaking the harmonic underpinning of the tune, which is a basic 16 bar minor blues. I suspect if you transcribed the solos and played them on electric guitar with a bit of feedback they wouldn't sound out of place. Mostly pentatonic, with some blue notes that add colour and tension/resolution, and some chord substitutions (also to add colour and tension/resolution). It's well on the funkier/bluesier end of the jazz spectrum.

For a real masterpiece in tension and resolution, you can't beat Coltrane's A Love Supreme album. He doesn't actually play that many different notes, but has huge variation in his phrasing and combination of them. It's incredibly powerful, almost visceral. Definitely not noodling! You can hear pain, passion, ecstasy in every note. Also worth thinking about in terms other than harmony/melody/rhythm - the tonal texture, for instance, the soundscape. We're used to describing Phil Spectors "wall of sound", for instance, or understanding hard rock as something that blasts you away, but similar things were happening in jazz.

I don't think you'll like it, but I dare you to listen to it all the way through (or experience it, more let it wash over you - just like an acid trip, if you try too hard to understand, control or fight it you'll have a **** time). Just the first 4 parts (the rest is just extras), a little over half an hour.

PS - yes it does grow on you. I didn't like it when I was younger, it's not particularly accessible or easy listening. Now I know almost every note by heart.

PPS - I love a bit of The Duke as well, cheers

Jesus ****ing christ.