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Jazz musicians can grab a single note by the scruff of the neck and rip its head off, use it to sooth the savage beast, slur it, overblow, add too much breath, hold back, attack it hard - the choices for a single note tend to be wider and more reactive. Jazz players sometimes paint is broad brush strokes, where the notes matter less than the effect (Evan Parker is a great example, as was Coltrane. Noone will ever approach Coltrane and say 'you missed that Eb in the fourth bar of your 27th chorus' )
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This line of thought is exactly what I mean when I say that there isn't enough analysis in jazz, too much of it gets caught up in "magic" and "soul" - not enough taking a look and realizing that, yeah, he blew that Eb.
But he does make a great point in that Jazz cannot be looked at as a classical piece, just as a Romantic piece cannot be looked at the same way as folk(indigenous European) music