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Post by dottorjazz on Oct 8, 2016 7:33:18 GMT
I don't know everything played in the 50's and 60's, but most I do. actually I've got no time to investigate further and I'm satisfied with what I listen to. I don't know almost anything played later so, following a GTF suggestion, I've given a try to Matana Roberts. never heard about her (yeah, she's a girl), but it's only my fault. for discog info you can find a lot on the net. here I would like to read your opinions on this 9 min alto sax impro. I've not been able to link up her style with any of the many masters of the past. and this is exactly what hit me.  |
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Post by alunsevern on Oct 8, 2016 10:08:28 GMT
Dott, Hers is an entirely new name to me, although I see that GTF has been singing her praises over on the Jazzcollector.com forum. A bit of googling reveals that she is a composer, bandleader, saxophonist, sound artist, improviser and singer/performer and that her major work, Coin Coin explores the history of slavery and is planned in twelve chapters, three of which have so far been issued.
I wouldn't know what to make of her work based on the clip you posted. That doesn't appeal to me very much -- but then I find my first introduction to a musician is never successful if all I hear or see is live footage. There's something about the whooping and audience self-congratulation that I hate, hence why I never ever go to live music. My personal problem, I do realise. Anyway, listening to some of COIN COIN CHAPTER ONE, which is on YT in its entirety reveals more and does seem to offer mor context. She leads a large free-ish band that seems to have some echoes of Braxton's large ensembles (she has played with him, I think), and perhaps David Murray's big band and the more raucous octet recordings. But oddly the band I was most reminded of was Chris MacGregor's Brotherhood of Breath -- that same swaggering, somewhat ramshackle ensemble work, emotional, flying by the seat of its pants, a touch Ellingtonian (in the way that Mingus is). But her personnel style on alto eludes me. She doesn't sound quite like anyone else and has superb phrasing and tone and control.
However, I note that she is keen on spoken and even screamed/sung narratives, which no matter how worthy would probably end up pissing me off. And Chapter One is an hour long... Would I listen to over twelve hours of this mammoth undertaking. It's unlikely, and my loss, I'm sure.
Others -- and hopefully GTF -- will chime in...
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Post by gregorythefish on Oct 8, 2016 17:15:16 GMT
i find that her live offerings have never done much for me beyond enjoyment. when she sits down and takes the time to really construct a narrative and a feeling, as on the COIN COIN recordings, i adore her work.
vocals are a sticking point for many people. i tend to avoid them, but i am not as repulsed as alan, perhaps. more often, i tolerate them. but with matana, i really feel they add to the music. they tell a nice story. they are often honest and organic, slightly imperfect.
as for the solo itself, i find that it has a lot of what her composition has that appeals to me: an almost ayler-level intensity of vibrato and penchant for drawing on old folk melodies. but she has masterful control over her instrument, and i love it.
alun, her "live in chicago" album might be more your speed. if i recall, there is little singing there.
as for audience whooping: it's a new era. this is how live music is appreciated now. not bad or good. just how it is. every type of music or show i go to, except for the stuffiest classical robotic nonsense, is like this.
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Post by alunsevern on Oct 9, 2016 9:23:53 GMT
Yes, I know, Greg, I'm a terrible old fart! It may be a new era but I hate whooping and all other forms of emotional incontinence.  |
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