Dave Ferris Posted November 4, 2013 Share Posted November 4, 2013 Hey Jazz+, check out this modern version of Body and Soul. I have the voicings he used here. Personally, I think this is much more interesting than Moran's (in the Modern style). [video:youtube]http://www.youtube.com/watch?v=RBIEnZHUgEo That's beautiful playing, loved it ! https://soundcloud.com/dave-ferris https://www.youtube.com/@daveferris2709 Link to comment Share on other sites More sharing options...
GovernorSilver Posted November 4, 2013 Share Posted November 4, 2013 I also dig Pasqua's "Body and Soul". Of course he has the advantage of more decades of seasoning compared to Moran. Link to comment Share on other sites More sharing options...
Jazzwee Posted November 4, 2013 Share Posted November 4, 2013 I'm just thinking though that somehow the term "Modern" is attributed to someone young. Pasqua isn't young by that standard but is Modern by intent (i.e. playing outside of the box). I've watched Herbie a couple of times a year at Disney Hall in LA and IMHO, he's always striving for something completely new. To me he's always Avant Garde...to the point of being ultra far-out actually (i.e. Free Jazz). Hamburg Steinway O, Crumar Mojo, Nord Electro 4 HP 73, EV ZXA1 Link to comment Share on other sites More sharing options...
Dana. Posted November 4, 2013 Share Posted November 4, 2013 I'm getting the sense that people aren't aware of the scope of Moran's work. He and Vijay Iyer are smart guys and big thinkers, not only pushing the boundaries of what a piano/bass/drums trio can do (Moran with the Bandwagon, Iyer with his trio), but they don't limit themslves to "jazz." Moran is interested in dance, opera, and art, and Iyer regularly works with poets. Both have received MacArthur Fellowships. If these guys aren't advancing and redefining jazz, I don't know who is. Here's an excellent piece on Moran. Unfortunately, it requires a digital subscription, but maybe some of you have one. http://www.newyorker.com/reporting/2013/03/11/130311fa_fact_wilkinson With regard to Alan Pasqua, he's a guy who's equally adept at the fusion stuff as he is traditional jazz. He released an excellent album of standards with Dave Carpenter and Peter Erskine that's worth seeking out. I think he's underrated. Link to comment Share on other sites More sharing options...
Dana. Posted November 4, 2013 Share Posted November 4, 2013 And Glasper is doing something entirely different (from the others). In the clip above, he's sort of taking the Radiohead baton from Mehldau but gets all J. Dilla with it (if you don't know who Dilla is, Google him). It isn't really forward-thinking, but if you like R&B and hip-hop, it's hard to deny the vibe and the groove. And the drummer, Jamire Williams, is a badass who's doing some super stuff with his own hybrid band, ERIMAJ. Link to comment Share on other sites More sharing options...
orangefunk Posted November 4, 2013 Share Posted November 4, 2013 Not seen the videos because I am on slow internet atm. I like all kinds of jazz from the old to the new (recently watched tons of DVDs from 50s to now as I have no TV or internet at home!). To me its simply all music... all this "breaking new ground" and "keeping it in the tradition" talk is all very well but for me music is about a certain feeling... and we all feel different about things. If we want to find a certain kind of music we live in a time where we have lots of choices. If you want to support the jazz scene then get out and support it because it needs it. While Moran and Glasper aren't always my cup of tea I applaud them for trying something different and trying to communicate with a different audience than the usual jazz crowd... much like the souljazz and fusion scenes did in the 70s. Link to comment Share on other sites More sharing options...
Philip Clark Posted November 4, 2013 Share Posted November 4, 2013 And the drummer, Jamire Williams, is a badass who's doing some super stuff with his own hybrid band, ERIMAJ. Erimaj is the truth. Love Chris Turner's vocals. Soul, R&B, Pop from Los Angeles http://philipclark.com Cannonball Gerald Albright Signature Alto, Yamaha YC73, Fender Rhodes, Roland Juno-106, Yamaha MX61, Roland VR-09, MicroKorg XL, Maschine Mikro, Yamaha Reface CP, Roland MKS-50 Link to comment Share on other sites More sharing options...
I-missRichardTee Posted November 4, 2013 Share Posted November 4, 2013 I keep saying it over and over there is far far too much compartmentalization of jazz music as being oh so wonderfully HARMONIC as if melody and rhythm were just along for the ride. Earlier I glazed over some commentary about one of the Youtubed artists playing such and such a CHORD on Body and Soul. Like who gives a damn? It shows to me this over emphasis on harmony. By the way John Coltrane played some really cool re harm of Edim7 where I believe the discussion was taking place- he introduced the Em7 or A7 substitute where E dim was originally- it worked it was very musical. It did NOT work because of harmony alone harmony works with the superior aspect... melody.. Melody is the thing.. But I have a hunch people avoid the topic of melody, because it is so subjective. They would have to stand up and dare say this melody is inferior to this melody.. and that is not PC.. in a world where PC is a god. The "failure" of any of the three arrangements offered by OP, are not HARMONIC failures, or failures because they are roaming away from the original HARMONY, they are "failures" because of a perceived lack of overall musicality - of which harmony is only one part among many major contributors to what is perceived as musicality. TOO much emphasis of harmony . Think music,, think rhythmic groove think melody. I have not made up my mind if these 3 offered pieces are indeed "failures". I am just speaking in context of this thread. You don't have ideas, ideas have you We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement Link to comment Share on other sites More sharing options...
Jazz+ Posted November 4, 2013 Author Share Posted November 4, 2013 The three pieces are not failures at all. Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
GovernorSilver Posted November 4, 2013 Share Posted November 4, 2013 Oh, and I dig the Etienne Charles track too. To clarify, I have no strong preference between Moran's and Pasqua's versions of BAS, despite my very general comment on the older player typically having something a little extra just because of the greater time to polish his/her craft - not implying that Moran is unpolished at all! Link to comment Share on other sites More sharing options...
Jazzmammal Posted November 4, 2013 Share Posted November 4, 2013 This one is nice Jazzwee. Some nice subs but it's still B&S, the whole song is there. This sort of thing though is where I'll admit I have no clue. Do I like this only because of my age and experience and a much younger listener might really like Moran's version? Or, are there enough 30 somethings to even bother to ask which they prefer? In the big demographic picture do any but a handful care about any form of jazz? Who knows and it's really tough to try to think generational. We can spend time on YT and watch some new awards shows and such but we really have no idea what a whole group of people 30 years younger than us think. Is jazz really dying anyway and all this is just musical masterbation? I kind of think so but I certainly could be wrong. I would like to be wrong. Bob Hammond SK1, Mojo 61, Kurzweil PC3, Korg Pa3x, Roland FA06, Band in a Box, Real Band, Studio One, too much stuff... Link to comment Share on other sites More sharing options...
Jazzwee Posted November 5, 2013 Share Posted November 5, 2013 My only point is the application of the word "Modern" to certain players and then deriving some statement from this as to the current state of jazz. I have no idea if young people would prefer Moran's version or not. I don't particularly but I think there's something about the rhythm that didn't me right. He certainly plays well but tends to be less edgy IMHO. I like a little bit more bite to my jazz. But then, I'm an older guy. But hey, Moran followed me on Twitter so he's a good guy in my book Now I still think Mehldau is cutting edge above all those videos. I'm seen him recently (with Bad Plus), and frankly he's still moving the goalpost IMHO. I think he's blown his own playing away from 10 years ago. Concert Hall was packed and lots of young people around (...maybe because it was at UCLA?). Hamburg Steinway O, Crumar Mojo, Nord Electro 4 HP 73, EV ZXA1 Link to comment Share on other sites More sharing options...
Jazzwee Posted November 5, 2013 Share Posted November 5, 2013 Since the OP was about Jazz stylings and if these videos were representative, I suppose it could be true, even with their different approaches. Even Pasqua's version is similar in that the rhythms have changed from swing to straight eighths of some sort. It's really rare to hear swing nowadays when listening to some modern jazz. Since I've labeled Herbie Avant garde then I observe that he doesn't swing anymore either. Neither does Mehldau, Kenny Werner. Mehldau may play in odd meters but it's typically straight eight rhythms. Also the bass doesn't walk anymore. That's gone by the wayside. I would also say that the piano, nowadays is playing more pianistically. More lush voicings and more harmonic presence compared to older styles. I'm sure these types of trends are upsetting Marsalis (and Miss Tee . But I'm only making observations. Hamburg Steinway O, Crumar Mojo, Nord Electro 4 HP 73, EV ZXA1 Link to comment Share on other sites More sharing options...
Jazz+ Posted November 5, 2013 Author Share Posted November 5, 2013 They two versions of "Body and Soul" cast the tune in quite different moods. The Moran version is hypnotic and melancholy, with more tension. This sort of mood is typicaly associated with the modern movement aesthetic. I can't get out of my head and I now play the tune this way although partly because it's so easy to do so. The Pasqua version is more beautiful and romantic, more refined, which is more associated with traditional jazz ballad aesthetics, imo. Paqua gives a rendering more in line with the spirit of the original song. Moran delivers a homage that is further afield. Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
I-missRichardTee Posted November 5, 2013 Share Posted November 5, 2013 The three pieces are not failures at all. I do not view them as "failures" either. I believe I use " " around the word failure. I thought someone implied failure, so I picked up on it, but used " failure" No offense intended to anyone... my apology if I did insult anyone. You don't have ideas, ideas have you We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement Link to comment Share on other sites More sharing options...
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