---------- Original Message ----------------------------------
From: "Odeluga, Ken" <[EMAIL PROTECTED]>
>I couldn't agree more Jason. There's a point being missed by some who
>equate 'progress' or artistic development (admirable goals of course)
>call it what you will, with increasing conventional musicality. It's
>something like the fact that sampling and other methods which were
>originally based quite a bit on *lack* of conventional musical
ability,
>should now be seen as valid art forms in themselves. They are
something
>quite apart and sometimes more refined (imo) than the aesthetics of a
>live jazz band, for instance.
the thing is, im not sure either kenny or theo are looking for
conventional musicality. i think both are trying to maintain their
aesthetics but with the added flexibility of using live
instruments as well as samples. even with carl craig or like
masters at work or others who use lots of live stuff at times,
they really start writing some kinda wack pretentious noodly
complex chord nonsense. i dont really think thats the kind of
thing kenny and theo are doing, theyre more just looking for that
same kinda nasty dirty groove they had in their other material.
with no one else really doing that in a live type situation,
theyre forced to experiment and try out different ideas.
im a big fan of minimal no-conventional-talent-necessary stuff. i
love omar-s for his "no live instruments" thing as much as i love
that kenny and theo feel like they want to use some live
instruments. if everyone just did one thing and never changed it
up, life would be pretty boring.
tom
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