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[quote="fonte"][quote="NeuK"] he de decir que la infame iron maiden no surgió con un [i]chas[/i] [/quote] Ya. En toda entrevista, biografía o pintada [i]sexpistolera [/i]siempre se recuerda a Sid Vicious recitando de carrerilla los miembros de la Cámara de los Comunes. [quote="NeuK"]esta va al buzón de sugerencias de la casa de la radio me parese.[/quote] No había cansina intención de reclamar una parcela. Ya es difícil conseguir un cuadro de programación inclusivo como el actual, apartadas algunas esquinas al sótano. Todo ello no quita evidenciar que la [i]filosofía [/i]de Radio 3 es un [i]pinball[/i] en el que la bola toca muchos palos, pero siempre tira hacia el mismo agujerito y acaba irremediablemente cayendo en él. [quote="NeuK"]ah, pero llamarse ron nunca fue un problema ![/quote] Aquí concedo jocosa y alegremente que usted ha tocado y hundido mi último acorazado dialéctico. El hombre mostacho es detestable, aunque hay un [url=http://www.youtube.com/watch?v=QBmUfD3Czyg]vídeo cuyo título no debe mirar[/url] que sí merece la pena. [quote="NeuK"] igual hasta era familia lejana de aquella [i]macartiana[/i] de los nenúfares y todo.[/quote] No hay nada peor que [url=http://pizarra.radiotres.org/viewtopic.php?p=5991#5991]los conceptos que se repiten[/url].[/quote]
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fonte
Publicado: Mar Jun 08, 2010 19:51
Asunto
: Anarchy with the Callaghan & God Save the Lady
NeuK escribió:
he de decir que la infame iron maiden no surgió con un
chas
Ya. En toda entrevista, biografía o pintada
sexpistolera
siempre se recuerda a Sid Vicious recitando de carrerilla los miembros de la Cámara de los Comunes.
NeuK escribió:
esta va al buzón de sugerencias de la casa de la radio me parese.
No había cansina intención de reclamar una parcela. Ya es difícil conseguir un cuadro de programación inclusivo como el actual, apartadas algunas esquinas al sótano. Todo ello no quita evidenciar que la
filosofía
de Radio 3 es un
pinball
en el que la bola toca muchos palos, pero siempre tira hacia el mismo agujerito y acaba irremediablemente cayendo en él.
NeuK escribió:
ah, pero llamarse ron nunca fue un problema !
Aquí concedo jocosa y alegremente que usted ha tocado y hundido mi último acorazado dialéctico. El hombre mostacho es detestable, aunque hay un
vídeo cuyo título no debe mirar
que sí merece la pena.
NeuK escribió:
igual hasta era familia lejana de aquella
macartiana
de los nenúfares y todo.
No hay nada peor que
los conceptos que se repiten
.
NeuK
Publicado: Mar Jun 08, 2010 02:03
Asunto
:
fonte escribió:
Por ejemplo, recientemente se ha dado un caso de metedura de pata flagrante y sólo
ha tenido eco
el hecho de que Manrique lo señalara, no la afrenta a la lógica en sí, lo cual es sonrojante.
no sabía de la agría polémica con iñaki gabil... digo entre esos dos. de cualquier manera una vez leido el contenido del enlace y ejerciendo de abogado infernal he de decir que la infame iron maiden no surgió con un
chas
de una oleosa nube púrpura y sobre un pentagrama para irrumpir en los comicios del '79; sino que ya pululaba en el gobierno conservador anterior y posteriormente como lider de la oposición. o sea que igual sí que tuvo algo que ver. vamos yo no lo sé, pero ahí queda.
fonte escribió:
al toparnos con cierta obra él comentó el típico desconcierto de "qué narices es esto, por qué lo exponen, qué se pretende".
ese amigo-a-pesar-de-todo no será un quejica ? :-P
fonte escribió:
si hasta en Radio 3 se prefiere desterrar ciertas
Ibanez
a la madrugada, se la identifica con Carlos Berlanga y Antonio Vega pero no con los hermanos De Castro o Yosi, y Ron Asheton y Dio se tienen que morir para que suenen durante horas matutinas (entonces el problema no es el
jevi
, sino llamarse Ron), qué se le va hacer.
esta va al buzón de sugerencias de la casa de la radio me parese. ah, pero llamarse ron nunca fue un problema !
porsier, que wena la rana cantanta, igual hasta era familia lejana de aquella
macartiana
de los nenúfares y todo.
forever blue
Publicado: Lun Jun 07, 2010 20:34
Asunto
:
Tampoco mucha gente entiende lo que hacía alguien como Frank Zappa y ahí está su obra, que siempre se puede volver a redescubrir, gente como Yngwie Malsmteen pues son incomprendidos para la gran mayoría, porqué quizás su ego solo ve en hacer música por puro divertimento, que conste ciertas cosas por ejemplo del sueco me gustan y en parte ha sido para otros guitarristas un punto de referencia.
fonte
Publicado: Lun Jun 07, 2010 19:09
Asunto
: Trolls hide, therefore they don't belong in this ball
NeuK escribió:
de todas maneras allí arriba en las heladas cumbres de los virtuosísimos a parte de rasca, hay soledad. me da que cierto tipo de
hazañas
son solamente apreciadas por el autor y poquitos mais.
Debo especificar lo de "credenciales": simplemente valdría tener un perfil público reconocible. Quien hace la crítica muestra todas las cartas sobre la mesa y se expone a contrarréplica. Y por tanto sólo en ejemplos así existe un interés sobre debates más que repetidos, lo que no quiere decir que el resto prescinda de la opinión propia. Por ejemplo, recientemente se ha dado un caso de metedura de pata flagrante y sólo
ha tenido eco
el hecho de que Manrique lo señalara, no la afrenta a la lógica en sí, lo cual es sonrojante.
Por otra parte, visitando hace mucho un museo que se suele mencionar en
Fluido Rosa
, me acompañaba un músico y compositor de jazz (y a pesar de todo amigo); al toparnos con cierta obra él comentó el típico desconcierto de "qué narices es esto, por qué lo exponen, qué se pretende". Le solté algo así como que puede que haya que ver primero el contexto, la intención y etc. Su respuesta fue un "eso es como si para disfrutar de la música el interés estuviese en la partitura". Ahí hubo un intercambio de miradas en plan "¿no es de lo que tú vives?" "no, ni por asomo es lo mismo". La última parte de la exposición, retrospectiva, incluía portadas de álbumes de grupos, en uno de los cuales, sorpresa, mi estimado interlocutor había tocado. Sí, debe hacer mucho frío en las cumbres creativas, sí.
NeuK escribió:
respecto al
jevi
quequierequelediga [...]
Nada más escribir lo de Malmsteen, oí un "huy lo que ha
disho
". Al leer la respuesta, la voz va cobrando un mayor acento sevillano, sabe usted.
Bueno, si hasta en Radio 3 se prefiere desterrar ciertas
Ibanez
a la madrugada, se la identifica con Carlos Berlanga y Antonio Vega pero no con los hermanos De Castro o Yosi, y Ron Asheton y Dio se tienen que morir para que suenen durante horas matutinas (entonces el problema no es el
jevi
, sino llamarse Ron), qué se le va hacer.
Pues quizás haya que ir a ese territorio común, de la mano, y esperar a que las ranas críen greñas, porque
ya hace mucho que cantan
(que no croan).
forever blue
Publicado: Lun Jun 07, 2010 13:00
Asunto
:
Como siempre en todos los estilos de música pues hay incomprendidos, como hay muchos que no aguantan a GRATEFUL DEAD, os acordáis de las discusiones de Jose Miguel López con KIKE TURMIX sobre Jerry Garcia y Frank Zappa, estaría bien que las pudiese recordar y hasta que Pat Metheny es un pesado para mucha gente del jazz, cuando el ha dado la vuelta al estilo del jazz hecho con la guitarra, claro para gustos colores.
¿Que estilo hace Kenny G? Se puede considerar jazz, hasta en el Ambigú sonó alguien como ¡BabyFace!
¿Para cuando en el ambigú un especial sobre Garth Brooks?
Eso si que suena a utopía, si ya sé que suena a provocación
NeuK
Publicado: Mie Jun 02, 2010 15:13
Asunto
:
carallo
, cinco años ? esto me pasa por no hacer los deberes.
de todas maneras allí arriba en las heladas cumbres de los virtuosísimos a parte de rasca, hay soledad. me da que cierto tipo de
hazañas
son solamente apreciadas por el autor y poquitos mais.
respecto al
jevi
quequierequelediga, el 95% me merece un interés muy similar al que me infunde kenny g. y lo digo sin entrar en el asunto de las vestimentas y los pelos, donde no se yo quién de estos dos contendientes perdería con quién.
pero dame la mano que somos hermanos, siempre podemos encontrar un territorio en común :
http://www.youtube.com/watch?v=XZgu21uG1Qk
fonte
Publicado: Lun May 31, 2010 21:33
Asunto
:
En verdad creí que habría un enlace a un vídeo del duelo de melenas en el que se viera a Metheny zurrándole con el diapasón (
in english
). Hará cosa de unos cinco años el amigo
nae
, en referencia a esa misma declaración, puso a modo de adivinanza, quizás en el foro del Club de Jazz, algo así como "¿quién dijo:"le pondría la guitarra de corbata a Kenny G."?".
Pero son debates (música de masas
vs.
creatividad, grabaciones intocables
vs.
remezclas patizambas) que siguen vigentes con el tiempo. Dado que sólo tendrían mayor interés cuando alguien con credenciales como Metheny los aviva (o sentencia), ojalá eso llevase a personajes de la misma índole a señalar otras obviedades como que el emperador Carlos Núñez con flauta va desnudo y por eso se pasó, no del todo, a la gaita, o, sin ir más lejos, que las apuntadas "técnicas" de Kenny G. valen asimismo para tantos otros, como por ejemplo el Yngwie Malmsteem de los últimos 25 años (se acepta
Rising Force
).
Lo digno de recordar, sin embargo, es que el mismísimo
Cifu
considera a Pat Metheny el músico más educado que haya conocido:
spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling, wimped out, fucked up playing
.
NeuK
Publicado: Lun May 31, 2010 16:43
Asunto
: pat metheny zurrando a kenny g (in english)
me ha hecho bastante gracia el despotrique, aunque después de todo es un objetivo fácil. enlace y copypaste (ah, he resaltado algunas de las lindezas, por darle un poco de tomate al asunto) :
http://www.jazzoasis.com/methenyonkennyg.htm
Pat Metheny on Kenny G
Question:
Pat, could you tell us your opinion about Kenny G - it appears you were quoted as being less than enthusiastic about him and his music. I would say that most of the serious music listeners in the world would not find your opinion surprising or unlikely - but you were vocal about it for the first time. You are generally supportive of other musicians it seems.
Pat's Answer:
Kenny G is not a musician I really had much of an opinion about at all until recently. There was not much about the way he played that interested me one way or the other either live or on records.
I first heard him a number of years ago playing as a sideman with Jeff Lorber when they opened a concert for my band. My impression was that he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time, like Grover Washington or David Sanborn, but
was not really an advanced player, even in that style. He had major rhythmic problems and his harmonic and melodic vocabulary was extremely limited
, mostly to pentatonic based and blues-lick derived patterns, and he
basically exhibited only a rudimentary understanding of how to function
as a professional soloist in an ensemble - Lorber was basically playing him off the bandstand in terms of actual music.
But he did show a knack for connecting to the basest impulses of the large crowd by deploying his two or three most effective licks (holding long notes and playing fast runs - never mind that there were lots of harmonic clams in them) at the key moments to elicit a powerful crowd reaction (over and over again).
The other main thing I noticed was that he also, as he does to this day, played horribly out of tune
- consistently sharp.
Of course, I am aware of what he has played since, the success it has had, and the controversy that has surrounded him among musicians and serious listeners. This controversy seems to be largely fueled by the fact that he sells an enormous amount of records while not being anywhere near a really great player in relation to the standards that have been set on his instrument over the past sixty or seventy years. And honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing so well financially, especially when so many of them who are far superior as improvisors and musicians in general have trouble just making a living. There must be hundreds, if not thousands of sax players around the world who are simply better improvising musicians than Kenny G on his chosen instruments. It would really surprise me if even he disagreed with that statement.
Having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right "bait" of a question, as I will explain later) and audiences have gone so far as to say that what he is playing is not even jazz at all. Stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as being jazz. It's just that as jazz or even as music in a general sense, with these standards in mind, it is simply not up to the level of playing that we historically associate with professional improvising musicians. So, lately I have been advocating that we go ahead and just include it under the word jazz - since pretty much of the rest of the world OUTSIDE of the jazz community does anyway - and let the chips fall where they may.
And after all, why he should be judged by any other standard, why he should be exempt from that that all other serious musicians on his instrument are judged by if they attempt to use their abilities in an improvisational context playing with a rhythm section as he does? He SHOULD be compared to John Coltrane or Wayne Shorter, for instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in the context of his instrument's legacy and potential.
As a composer of even eighth note based music, he SHOULD be compared to Herbie Hancock, Horace Silver or even Grover Washington. Suffice it to say, on all above counts, at this point in his development, he wouldn't fare well.
But, like I said at the top, this relatively benign view was all "until recently":
Not long ago, Kenny G put out a recording where he overdubbed himself on top of a 30+ year old Louis Armstrong record, the track "What a Wonderful World". With this single move, Kenny G
became one of the few people on earth I can say that I really can't use at all
- as a man,
for his incredible arrogance
to even consider such a thing, and as a musician, for presuming to share the stage with the single most important figure in our music.
This type of
musical necrophilia
- the technique of overdubbing on the preexisting tracks of already dead performers - was weird when Natalie Cole did it with her dad on "Unforgettable" a few years ago, but it was her dad. When Tony Bennett did it with Billie Holiday it was bizarre, but we are talking about two of the greatest singers of the 20th century who were on roughly the same level of artistic accomplishment. When Larry Coryell presumed to overdub himself on top of a Wes Montgomery track, I lost a lot of the respect that I ever had for him - and I have to seriously question the fact that I did have respect for someone who could turn out to have such unbelievably bad taste and be that disrespectful to one of my personal heroes.
But when Kenny G decided that it was appropriate for him to defile the music of the man who is probably the greatest jazz musician that has ever lived by
spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling, wimped out, fucked up playing
all over one of the great Louis's tracks (even one of his lesser ones), he did something that I would not have imagined possible. He, in one move, through
his unbelievably pretentious
and calloused musical decision to embark on this
most cynical of musical paths
,
shit all over the graves of all the musicians
past and present who have risked their lives by going out there on the road for years and years developing their own music inspired by the standards of grace that Louis Armstrong brought to every single note he played over an amazing lifetime as a musician. By disrespecting Louis, his legacy and by default, everyone who has ever tried to do something positive with improvised music and what it can be,
Kenny G has created a new low point in modern culture
- something that we all should be totally embarrassed about - and afraid of. We ignore this, "let it slide", at our own peril.
His callous disregard for the larger issues of what this crass gesture implies is exacerbated by the fact that the only reason he possibly have for doing something this inherently wrong (on both human and musical terms) was for the record sales and the money it would bring.
Since that record came out - in protest, as insignificant as it may be,
I encourage everyone to boycott Kenny G recordings, concerts and anything he is associated with.
If asked about Kenny G, I will diss him and his music with the same passion that is in evidence in this little essay.
Normally, I feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don't really benefit from public criticism, particularly from their fellow players. but, this is different.
There ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at even the most basic of levels, Louis Armstrong and his music is hallowed ground. To ignore this trespass is to agree that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and I refuse to do that. (I am also amazed that there HASN'T already been an outcry against this among music critics - where ARE they on this?????!?!?!?!, magazines, etc.). Everything I said here is exactly the same as what I would say to Gorelick if I ever saw him in person. and if I ever DO see him anywhere, at any function - he WILL get a piece of my mind and (maybe a guitar wrapped around his head.)
NOTE: this post is partially in response to the comments that people have made regarding a short video interview excerpt with me that was posted on the internet taken from a tv show for young people (kind of like MTV)in poland where i was asked to address 8 to 11 year old kids on terms that they could understand about jazz. while enthusiastically describing the virtues of this great area of music, i was encouraging the kids to find and listen to some of the greats in the music and not to get confused by the sometimes overwhelming volume of music that falls under the jazz umbrella. i went on to say that i think that for instance, kenny g plays the dumbest music on the planet – something that all 8 to 11 year kids on the planet already intrinsically know, as anyone who has ever spent any time around kids that age could confirm - so it gave us some common ground for the rest of the discussion. (ADDENDUM: the only thing wrong with the statement that i made was that i did not include the rest of the known universe.) the fact that this clip was released so far out of the context that it was delivered in is a drag, but it is now done. (its unauthorized release out of context like that is symptomatic of the new electronically interconnected culture that we now live in - where pretty much anything anyone anywhere has ever said or done has the potential to become common public property at any time.) i was surprised by the polish people putting this clip up so far away from the use that it was intended -really just for the attention - with no explanation of the show it was made for - they (the polish people in general) used to be so hip and would have been unlikely candidates to do something like that before, but i guess everything is changing there like it is everywhere else. the only other thing that surprised me in the aftermath of the release of this little interview is that ANYONE would be even a little bit surprised that i would say such a thing, given the reality of mr. gs music. this makes me want to go practice about 10 times harder, because that suggests to me that i am not getting my own musical message across clearly enough - which to me, in every single way and intention is diametrically opposed to what Kenny G seems to be after.
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