More Notes on Indoctrinating Music with Real Emotion: Adrian Benavides Part 2

A few weeks ago, I  posted about a very moving blog post by Adrian Benavides, when discussing his new album – Same Time Next Time. Not only was I taken by the honesty and open way Adrian discussed the death of his daughter, but also how these emotions were transferred into both the process and subsequent sounds of the album. I was particularly interested in how these emotions could be transferred to listeners. Having stated that ‘I would love to hear this album’, Adrian very kindly got in touch and sent me a copy. In the last couple of weeks, Adrian has uploaded another couple of posts – part 2 and part 3, where he talks candidly about the emotional process of recording the album. The posts also include streams on selected tracks, which makes it possible to make the connections I have discussed above. I have only just started listening to the album, and intend to post a more thorough review of the album later. But in the meantime, I can only recommend checking out his blog and listening to the music. It is one of the most honest albums I have heard in a long long time.

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Gig at Torfaen Jazz Club:Ustream

Here is a section of a gig I done at Torfaen Jazz club on 25/3/11. The band is a Scratch Band (playing together for the first time), but I think music aside, it displays how easy it is to capture content on USTream, broadcast it live, then watch it later. This is a technique I intend to use in education in the future.

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Muthspiel and Blade

For anyone interested in checking out some great music, I can only recommend listening to the work of Austrian guitarist Wolfgang Muthspiel. I have included an amazing session he recorded with Brian Blade below, followed by a Spotify link for some of his other work – including solo albums.

Please  check him out  wolfgang muthspiel

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Pat Metheny – Post 3

I am considering writing an  academic paper on the Metheny Orchestration concept for a music technology conference in the UK. Here is a range of links that I still need to explore myself – but interesting information.

http://www.eqmag.com/article/number-5-alive/April-2010/110739

http://www.eqmag.com/default.aspx

http://www.keijzerfotografie.nl/item-x.php?itemId=222076

http://www.soundonsound.com/sos/apr10/articles/orchestrion.htm

http://img163.imageshack.us/img163/1281/setlistmilan15032010.jpg

http://www.portagile.com/

http://www.rhein-main.net/sixcms/detail.php/rmn01.c.7407635.de

http://jazztimes.com/articles/25846-pat-metheny-welcome-to-the-machine

http://jazzinsidemagazine.com/publications/guide/march-2010

http://www.nmz.de/online/pat-metheny-und-sein-retro-futuristisches-solo-orchester

http://www.post-gazette.com/pg/10053/1037275-388.stm#ixzz0gH10X7w9

Number 5 Is Alive: Pat Metheny Plays Well With Robots in the Studio for Orchestrion

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Pat Metheny – Part Two

My last post on Pat Metheny has made me think about a book chapter I had published recently on the impact of jazz guitarists on the Jazz canon. Out of all electric guitarists, I would suggest that Metheny has done more than anyone to redefine the jazz aesthetic. Almost from his first album in the mid 1970′s, his music not only portrayed a totally identifiable and original guitar style, but also an open mindedness regarding what jazz can be. I have always been fascinated about the way that he (and other musicians) uses technology to formulate his music both in the studio and live, but his ‘Orchestration’ album takes this process to a new level’. Not only is he able to perform alongside himself in the ‘virtual’ manner he achieved on Watercolours  (1977) New Chautauqua (1979), but this time alongside a more embodied version of himself. Building on the work of guitarists such as John Mclaughlin and Larry Coryell, Metheny’s music and image has created not only a new definition for what jazz can sound like, but also the processes regarding its construction and visuals. To my mind he has to be considered one of the most influential jazz musicians of all time, and I can only plead with the people who consider and construct the histories of jazz to give him the great respect he deserves. If anyone is interested in my book chapter let me know – I will forward a copy or upload it.

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Pat Metheny – The Orchestrion Album

I have been listening to the latest Pat Metheny album recently. As with nearly all of his projects – I love the music. However, this album also has a really interesting ‘process’. Check this out and be amazed!

YouTube – Pat Metheny – The Orchestrion EPK.

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Jon Eberson – Another Norwegian Gem

After listening to Eivind Aarset, I thought I would dig around and see if I could find any other Norwegian guitarists that are relevant to my research. I have been a fan of Terje Rypdal for many years, but now realise there a loads of players I am not aware of. Jon Eberson is one such player. What I find interesting about this guy is that he sounds lso different guitarist on many of his albums. I can hear a Holdsworth influence on ‘Stash’, and Metheny on later titles such as ‘Standards’ and ‘Jazz For Men’.  ‘Music For Men and Machines’ sounds way ahead of its time – a must listen in my opinion. Check out the links below on Spotify if you can. Although not a ‘loop’ based album, two of the tracks are constructed in this way (‘I Dreamt and ‘Dance’) – would love to see them played live.  He even moves into more free Jazz on 1999′s ‘Mind The Gap’ – influenced by Terge Rypdal in my opinion.

Jon Eberson – Stash

Audun Kleive – Music For Men Og Machines

Morten Halle – The Eagle

Bjørnar Andresen – Mind The Gap

Jon Eberson – Standards

Jon Eberson – Jazz For Men

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