Ain't nuttin funky about Bohanon's "Let Start The Dance"...straight disco!!!
Now if one wants to converse about funky disco, Chic's "Good Times" and
"Everybody Dance" are sure candidates...Funky bass solo in the
latter...Bernard Edwards, R.I.P.
>From: Lynne d Johnson <email@example.com>
>To: ACIDJAZZ <firstname.lastname@example.org>
>Subject: Re: Jazz V. Disco; the showdown
>Date: Tue, 14 May 2002 17:03:32 -0400
>hmm...was hamilton bohanan disco or funk?
>it was very electro funk
>he wasn't a white guy
>:: info ::
>Lynne d Johnson
>c :: 347.693.9669
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>From: "Dr. Axel Barcelo Aspeitia -- Investigador"
>Date: Tue, 14 May 2002 15:34:21 -0500 (CDT)
>To: Steven Catanzaro <firstname.lastname@example.org>
>Cc: ACIDJAZZ <email@example.com>
>Subject: Re: Jazz V. Disco; the showdown
>Steve, you are soooo right. I remember reading once Jane Child (remember
>her?) saying that Disco was what happened when white guys tried making
>funk, and I do not think she was way off the mark. Disco is different from
>Funk in many ways, one of them being the huge difference mentioned by
>Steve. I would gice the credit (or put the blame) on Girogio Moroder who
>was such a control freak but made beautiful 'compositions'. He was also
>one of the first using sequencer to get that super-controlled vibe on his
>productions. Kudos to the man, in the name of one of those guys in front
>of computers Steve mentions in his post!
>Dr. Axel Arturo Barcelo Aspeitia
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>On Tue, 14 May 2002, Steven Catanzaro wrote:
> > Personally, I see a major line that can be applied to most developments
>music for the last 75 or 80 years or so.
> > The demarcation point that I'll stress is *improvisation* vs.
> > In improvised music, the structure of the piece, if any, exists only to
>support what the performers are going to make up on the spot. This leads to
>alot of spontaneity, as well as many "mistakes" being made in the music,
>i.e., phrases, rhythms, and harmonies that a person might not have come up
>with if they sat down and thought better about it.
> > In composed music, all such "mistakes" are ironed out in advance. An
>arrangement is thought up, it is rehearsed or perfected until it is fully
>realized, and then it is recorded and/or performed. (Alternately, an idea
>that is initially improvised is then refined and polished ad nauseum, until
>the finished product is released to the public.)
> > So, on the one hand, you've got the albums made by Thelonious Monk for
>Prestige in the 50's, and they're all sloppy and fabulous.
> > On the other, you've got the disco of the Brothers Johnson, or Donna
>in which, as one AJ contributer notes, each *drum* of the drum kit was
>tracked seperately. Now THAT takes planning. Meticulous and perfect (and
> > Acid Jazz, or Soul Jazz, is firmly in the first tradition. Much of
>pop, album rock, as well as classical music etc. is in the second
>and I would say that a LOT of the music talked about on this list in the
>last 4 or 5 years falls firmly in the second tradition.
> > After all, the vast majority of it is made by anal males sitting in
>computers or various other bits of late 20th century electro-technology
>created to micromanage audio files. Similarly, you're not going to hear
>of the first tradition in B. Spears, N.E.R.D., or the rap of Lil' Kim and
>etc. (And in fact, the demarcation line in em-ceeing is whether you can
>"freestyle" it or not.)
> > But do we say the one tradition is "dead" because the other is a bit
>prominent at the moment? No. The great thing about it is even though jazz
>has always been about improvisation, the 2 traditions co-exist,
>cross-polinate, and oft-times intermingle.
> > I find myself attracted to artists who are able to blend both
>at least if they're firmly in tradition 2, they are creative enough to
>convey the sense of spontanaeity found in tradition 1.
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