[Harp-L] Re: William Gallison
- To: Chris@xxxxxxxxxxxxxxxxxx, wmharps@xxxxxxxxxxxxxxxxxxxx, harp-l@xxxxxxxxxx
- Subject: [Harp-L] Re: William Gallison
- From: Tom Costelloe <tom_costelloe@xxxxxxxxxxx>
- Date: Mon, 21 Nov 2005 17:34:06 +0000 (GMT)
- Cc:
- Domainkey-signature: a=rsa-sha1; q=dns; c=nofws; s=s1024; d=yahoo.co.uk; h=Message-ID:Received:Date:From:Subject:To:MIME-Version:Content-Type:Content-Transfer-Encoding; b=4KPlZr95E+XSrI+Ttgw17d6qBl9AM/GaZG5gz72WQ/l2/MOvnwS4qrEfHRh8+GNGzIjS9So8LmGftDB/h2I3wPf/6TBNRZwLiFw1XCs3Sypz0bwpZikX+ztZhI/I2V3eJWSfDsYSXOOrjKR4rREJKF1uErhtd2PLDq5jnp1/XGM= ;
Chris/George/Tim M et al,
Before we get into who can play Jazz on the diatonic, wouldn't it be more fruitful to discuss what contemporary jazz is? I've never heard Howard Levy play any 'Jazz,' (can't find his tape Harmonica Jazz for love nor money in England) but have always seen his contribution to albums like The Sultan's Picnic by Rabih Abou Khalil as applying an advanced western jazz training to another culture's musical tradition. What's the difference between 'Jazz' and 'improvised music' today? Is 'Jazz' playing the head of a 'standard' then improvising over the changes? What are 'Jazz standards' today, and why should any musician be constrained by them. Hasn't Jazz had to move away from its roots in ragtime/new orleans marches/1930's showtunes etc to survive and grow? If so anyone playing heavily improvised music incorporating jazz 'devices' over anysort of musical framework is a jazz player, and there are lots of them on this list, or ami i barking up the wrong tree...
Sorry about all the questions. and the exclamation marks,
Tom Costelloe
---------------------------------
To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre.
This archive was generated by a fusion of
Pipermail 0.09 (Mailman edition) and
MHonArc 2.6.8.