Steve,
->>a lot of the nu-jazz stuff is
->> technology driven. Not that I'm complaining - I like it.
->But there's only
->so
->> much you can do with harmony/melody/groove before it stops
->being music
->this
->> list would be interested in.
->>
->> Al.
->
->Al.;
->Please elaborate. I'm trying to understand what you're
->saying, especially
->this last sentence. Are you saying there is a certain point
->at which most
->aj-ers tune out, because the music starts getting too
->innovative / creative
->/ "out"?
Yeah, I guess so. To make an extreme example, if you mixed some broken beat
or drum'n'bass grooves with twelve tone harmony it might be considered
innovative but I don't know that I'd be that interested in it. Maybe the
innovation comes in the approach to the music rather than the traditional
ideas of harmony and melody ie the use of turntables/samplers. I guess what
I'm saying is this type of music is a fresh take on the jazz/funk.
->
->Consider nu-jazz, broadly speaking (which covers everyone
->from Amon Tobin,
->Kid Koala, Roni Size, Compost, Ninja, P'taah / Ubiquity, UFO,
->Dego and 4
->Hero, etc... even, grudgingly, some non e:trinity 2 step),
->and all kinds of
->broadly categorized diverse stuff). Aren't these artists,
->particularly those
->who have started to achieve fairly large commercial success,
->subject to the
->same "art" - "market" pressures as anyone else? And do they
->necessarily have
->to be at war?
Now I'm not sure if I understand what you're saying :-). I thought (hoped)
these artists were under less artistic pressure than most and were therefore
creating music they wanted to create. I doubt there's a lot of money to made
and these artists would be doing something else if they couldn't do what
they felt was artistically rewarding. Am I naive to think that?
regards,
Al.
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