Versatility is a valuable trait for composers in any genre. Genre or stylistic synthesis won’t always pan out, but when executed successfully, the results can be incredible. This process isn’t always blatant; there’s additional virtue in songwriters tinkering subtly within their own genre or adjacent sonic palettes. Jazz fans in…
Regardless of one’s musical background, free jazz is one of those genres that can be extremely confusing and often border on nonsensical and sonically belligerent. There are even fans of jazz who still can’t get into the likes of the late works of John Coltrane or anything made by Pharaoh Sanders, preferring instead to listen to other, less insane iterations of the genre. While we believe that music’s value is something strictly decided by the listener, we’ve also found that, despite the difficulty of the genre, free jazz is incredibly rewarding. There’s something undeniably special about musicians that can improvise; if music is the expression of the soul, then free jazz is the direct output of an unrestrained musical voice. While it can sound like noise, it’s in fact a huge show of musicianship, as the artist in question must compress everything they know about music theory into one single point and, in a sense, abandon the strictures it causes for what they feel. In this way, we think free jazz can be one of the most magical and spiritually uplifting genres of music out there, and for those interested in exploring the genre further, the following albums are great introductions to the most liberated plane of jazz.
If there was one word to ultimately describe Miles Davis’s final handful of recordings, it would be “contentious”. While Davis was never too far away from controversy throughout his entire career, with a great number of his releases not finding proper reception until years after their release, this period of his life perhaps represented more of a disappointment by fans than any other. He’d been able to prove himself to be capable of serious experimentation with albums like Bitches Brew and On The Corner; one could only expect fans to be disappointed with the supposed lack of innovation found on The Man With The Horn.
Before jazz became a regular occurrence in my rotation, I thought bandleaders were exclusively pianists, trumpeters saxophonists given the prevalence of the instruments in the genre. This quickly changed as I ventured further into the genre, exploring the discographies of artists like bassist Charles Mingus and flutist/clarinetist Eric Dolphy (who, to be fair, also played alto sax). But it wasn’t until hearing Jack DeJohnette’s drum solo on “What I Say” – from Miles Davis’ Live-Evil – that I truly fell in love with jazz drumming, drawing me towards eminent jazz percussionists like Max Roach. To be clear, none of this is meant to frame Eli Keszler as a jazz drummer; his playing and composition on Last Signs of Speed doesn’t fit neatly in any particular style. Yet, as I listened to Keszler’s use of texture throughout the album, it reminded me of the songwriting sensibilities of drummers like Roach – musicians with a deep understanding of percussion’s mechanics and how any additional instrumentation should be placed in the surrounding space.
For those who missed our last installment, We post biweekly updates covering what the staff at Heavy Blog have been spinning. Given the amount of time we spend on the site telling you about music that does not fall neatly into the confines of conventional “metal,” it should come as no surprise that many of us on staff have pretty eclectic tastes that range far outside of metal and heavy things. We can’t post about all of them at length here, but we can at least let you know what we’re actually listening to. For those that would like to participate as well (and please do) can drop a 3X3 in the comments, which can be made with tapmusic.net through your last.fm account, or create it manually with topsters.net. Also, consider these posts open threads to talk about pretty much anything music-related. We love hearing all of your thoughts on this stuff and love being able to nerd out along with all of you.
Even a cursory glance of our biweekly “What Heavy Blog Is Really Listening To” posts will reveal that there is a great deal of variety among our staff’s musical tastes. Due to this, we brainstormed the idea of “Playlist Swap,” another biweekly segment that takes place between playlist updates. We randomly select two of the participants from each update, have them pick their favorite track from each of the nine albums in their grid and then send the list over to the other person to listen to and comment on. Within these commentaries occurs praise, criticism and discovery, and we hope that you experience a few instances of this last point as well. This week’s post brought staff members Scott Murphy and Karlo Doroc together to peruse each other’s tastes:
It’s been a while since we did one of these, but…for those who missed our last installment, We post biweekly updates covering what the staff at Heavy Blog have been spinning. Given the amount of time we spend on the site telling you about music that does not fall neatly…