MUZYKA 3-CIEGO UCHA

zyfri

Fragmenty materiałów i wypowiedzi zebranych przez John Voigt w opracowaniu "Free Jazz Improvisation". Zamiast tych "brzydkich etykietek". Będę sukcesywnie puszczał różne wypowiedzi legend lub o legendach.

zyfri

Charles Tyler said: [Ayler] "had studied being a musician all his life, that he
knew the basics as well as he did. When Al and I played together, we could
suppress the natural shit we had learned and make ourselves sound like
two crazy people who didn't know nothing about music!"

zyfri

Albert:

"It's not about the notes, it's about the sound." "You really have to play your
instrument to escape from notes to sound."
"Never try to figure out what happens, because you would never get the
true message." [Liner notes, Love Cry]

zyfri

"Ayler does not extract individual motives from the tune and work them out
(like Rollins), nor does he connect a number of organically evolving motivic
chains (like Coleman). His method is to paraphrase whole themes [as in
folk songs of simple melodies, harmony, and rhythms] --"I'd like to play
something--like the beginning of Ghosts--that people can hum."] ...and by
'quoting' them note for note, distorting them by shifting or transposing the
individual pitches. [E.Jost, Free Jazz, 125-127]

zyfri

"Albert Ayler opened me up so wide in terms of listening and playing as a
drummer. He'd say, 'Fill all that space out. I don't care how you do it, but do
it.' He didn't want any space or holes in the music. He wanted to hear
rhythms all over. The only thing he'd tell me was, 'No time, I don't want to
hear ching-ka-ching-ka-ching--no bebop.' In other words, he didn't want to
hear the boom-boom-boom-boom bass drum pattern from the swing period
or the syncopated, accented bass drum pattern from be-bop. There was a
pulse to the music because of the melody being played, but not the kind of
pulse you were normally listening for. The time-feeling was more
suspended, like waves that moved along with the song. You didn't have to
worry about the time. You were either playing before, or after, or in the
middle of the notes Albert was playing. He would play three notes, like the
first three notes of 'Summertime' and each note that he played made you
hear a pattern of fifteen other notes around them. I was just phrasing on the
drums around the notes he was playing." Ronald Shannon Jackson, from
Paul F. Berliner: Thinking In Jazz.

post.swan