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Re: er, zorn, bungle, bailey, brotzmann
--- Mike Biffle <email@example.com> wrote:
> This whole thread seems to have a general tone of
> not liking the> I get a lot of
> information from
> recordings as much as the live "event".
> the documented playing, but just don't need to
> listen a whole lot
> But it's a real time phenomena and the document is
> just a single
> snapshot of a larger process.
I saw the Peter Brotzmann Tentet perform a while
back(this is loop-related because they had a trumpet
player, Toshinoro Kondo, looping and making strange
noises in the process) and it blew me away. I quickly
bought a recording and even though most of it was
recorded live (with several different versions of the
same pieces) it really only serves, as you said, as a
document. In fact, I might not have appreciated the
recording much at all if I hadn't seen it live.
That said though, I really get into Mr. Bungle's
records and I've never seen them live. They edit and
otherwise manipulate their stuff a lot though and work
on making the recording pretty exciting, unlike
Brotzmann, Bailey, and other improvisors who use the
recording more like a document. So anyway, what I've
found is that the "pure" approach works best live and
the studio is good for tweaking so things sound good
without that live improvisational element, which
probably isn't capturable on record. I'm interested
in how other people approach this.
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