Sean Khan - Palmares Fantasy (feat. Hermeto Pascoal)



https://www.youtube.com/watch?v=CYerQP0sl6Y

The only place for western music to go by way of experimentation is away from equal temperament, players and composer are interested in the sounds that were long out the reach for musicians of fixed note instruments especially in ensembles because technology like Gerschlaue says has caught up. People have always used microtones, the voice naturally wants to hit the correct harmonics, and anyone playing an instrument without fixed notes isnt limited, but as music moves through key centres most instruments like pianos cant allow for the nuisances of an untempered scale, which is why we have 12 tempered notes as a compromise as you probably well know, and that restricts the harmonies that can be forged.

Where this guy is taking things is in a theoretical way, but fortunately enough for us caring equally about the artistry of it. I personally think it is as important as the work of Bird, Miles/Russell, Trane, Coleman, this isnt just playing outside, this is playing outside and then some. This is a next step that no one has taken in this manner, I dont know if you play or have a theoretical knowledge of music, but this is next level in terms of harmonic composistion, this guy is using 128 notes in the octave to allow for the precision of hitting the right notes for the key centres, thats insane. Exciting stuff...without being emperors new clothes, this music is truer to the mathematical underpinnings of the harmonic series.

It may sound alien but in the same way as hearing a new language for the first time...incredible stuff

Last edited by Babbling Brooks (2018-06-17 10:42:35)

He's not just reshaping jazz, he's reshaping music, I don't think you recognise the significance of this to be honest, maybe as a non-player and not being a theorist you dont quite understand what he has achieved, it might take a while for the critics to catch up.

This guy is the real deal, he's just opened a door with this album that now is way beyond not only a way out field but he's just gone way out on that.. the reason DeJohnette gives in this vid really show the recognition to this guys work.

If the issue is because of the comparison to Coleman for reasons larger than the theory of the music or impact fair enough, how could I begin to comment on 'the scene'... I'll leave that to people who put that before the content

https://youtu.be/RMI_mVB95WQ

Garrison's face says it all... incredible

https://youtu.be/yj2O8axzLUE

I am saying that the landscape of jazz has changed. It's a landmark record within one framework, yet it might not have any effect on music in another area of what "jazz" is considered to be. That's not because it's not worthy of being a landmark, just that records and musicians are not able to have as wide and deep an impact across as much of jazz as a single genre as they used to - jazz is more broken into niche sounds and fragments than it was, which means a single player can't have as wide an influence. I'm not saying that it doesn't deserve that, or that it doesn't matter as a result. Just thinking out loud about it because what you're saying brought up the idea, and I think it's an interesting correlated train of thought. In the past, someone like this might have impacted the playing of a vast majority of musicians, as you saw with a John Coltrane or even an Ornette. I just don't see jazz feeling that same level of effect anymore. It doesn't mean that it couldn't do that, just that the current structure of jazz as a genre doesn't support that. It's got nothing to do with me assigning any worth or value to the music, it's a separate point. You may have gotten confused about that, or I may not have explained it well enough.

Wes Montgomery - Caravan (1964)

https://www.youtube.com/watch?v=NkfiQsq8cwE

Keith Jarrett, "Ballad of the Sad Young Men"

https://www.youtube.com/watch?v=6Iki33SaUss

Bill Frisell with Ron Carter and Paul Motian - Worse and Worse

https://youtu.be/wPHbneD0_uE

King Crimson -Lark's Tongue in Aspic.