Page 4 of 4 FirstFirst ... 234
Results 46 to 53 of 53

Thread: Jazz Inquest

  1. #46
    Join Date
    Oct 2004
    Posts
    536

    Default

    no i still don't like Whitney (apart from "it's not all alright, but it's okay" or whatever it's called - the one sanctified by the UK garage massive)

    don't like Mariah either

    it is actually hip now to think of both of them as proper artists of stature

    also Sade - she featured high in the Pitchfork list of great albums of the Eighties.

  2. #47
    Join Date
    Oct 2016
    Posts
    865

    Default

    Quote Originally Posted by blissblogger View Post
    He does bang the "it all comes from black music, ALL of it," drum a bit stridently.
    yeah but how many white rockists do you get defending revolting music like the beatles or *despairing fucking hell, post-ummagumma floyd.*

    And even when they defend good shit like killing joke or bauhaus its politic to ignore their disco/funk/dub influences.

    this is why i like reading you on the more rock music stuff, actually. bbigups.
    Last edited by thirdform; 16-10-2018 at 11:27 PM.

  3. #48
    Join Date
    Oct 2016
    Posts
    865

    Default

    like thats sort of the point, post-punk only owed to *punk rock* what it did dialectically, not linearly.

  4. #49
    Join Date
    Jan 2018
    Posts
    293

    Default

    Quote Originally Posted by blissblogger View Post
    it is actually hip now to think of both of them as proper artists of stature

  5. #50
    Join Date
    Oct 2004
    Posts
    536

    Default

    I can't really hear the James Brown in Kraftwerk to be honest

    it seems like there should be some connection - "Sex Machine" / "Man Machine"

    but i think they found their way to a similar machinic aesthetic by different routes

  6. #51
    Join Date
    Oct 2016
    Posts
    865

    Default

    well euro-american minimalism also owed to gamelan and nubian oud records like hamza el din waterwheel, ghanaian drumming, etc.

    But ultimately this is conjecture right. we can go round and round in circles but is there really a point speculating?

  7. #52
    Join Date
    Oct 2016
    Posts
    865

    Default

    the internet means you can make connections that might not have been there though in different cultural contexts. I guess I'd have to read a lot of kw interviews to see what they were actually listening to. but then there's a say what the interviewers want to here thing (every artist does this to an extent.)

    So yeah, i personally do here a James Brown connection but i don't want to declare it to be definitive.

  8. #53
    Join Date
    Jul 2012
    Posts
    132

    Default

    kind of like the post dubstep convo on here recently i think jazz suffered from gentrification. it got way too academic. the originators moved on, because that's what they do and what's left behind is mostly a bunch of people trying to keep their idea of the pure form alive. a few forays here and there into modernising but i've yet to hear anything substantial from the last 15 years. jazz jam sessions all over the world are full of the same old standards. the recording artists who are supposedly keeping it new and exciting are playing it tame and politely. guys like Avishai Cohen are just made for the stages of Montreaux. Robert Glasper sends me to sleep. don't even get me started on Kamasi Washington. Chris Dave/Chris Corsano spawned a million wack assed experimental drummers who find it hard to keep a groove going for more than 12 seconds. and they like to cellotape the contents of their dads tool shed to their kits. it's all just a bit fucking lame.

  9. The Following User Says Thank You to pattycakes_ For This Useful Post:

    Leo

Tags for this Thread

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •