As reported in Prog magazine, Neal Morse, Michael Portnoy, Pete Trewavas and Roine Stolt will record an album of new music. Awfully nice of them to do that for us, I think!
“This mix, following on from Instantium Hardphace last year, is the second of a series of what I call ‘horizontal slices.’ The idea is that there are several long running ‘themes’ in my work -in other words, groups of pieces across time that partake of some kind of stylistic commonality. So whilst any given group will draw from nearly twenty years of releases, it will have an aesthetic unity that individual albums have often shunned. Of course, it’s up to the listener to make sense (or otherwise) of what that aesthetic may be!” – Tom Jenkinson, March 2013
Mark the calendar. Dig the music. I love Omar but never got into The Mars Volta. I have strong feeling that this could be just the thing.
I’ve been waiting for this one for a LONG time. His quartet has gone through such extraordinary transformation, becoming a thing that functions on its own, with its own rules. It is wholly different than the standard approach of “jazz soloists” who operate around a preset progression, head and theme. Wayne’s music soars above all convention, defying patently inadequate titles like “free jazz” or “standards” or “acoustic quartet” or “avant garde.” It is all of that and none of that and so much more. He is quoted in the New York Times:
“We have to beware the trapdoors of the self,” he said recently.
“You think you’re the only one that has a mission,” he went on, “and your mission is so unique, and you expound this missionary process over and over again with something you call a vocabulary, which in itself becomes old and decrepit.” He laughed sharply.
* * *
“We don’t count how much water there is in a wave when we see the ocean.”
* * *
“To me there’s no such thing as beginning or end,” Mr. Shorter said. “I always say don’t discard the past completely because you have to bring with you the most valuable elements of experience, to be sort of like a flashlight. A flashlight into the unknown.”
80 years old and still exploring the unknown. Like he has any choice in the matter. Check out WayneShorter.com for further illumination.
The Gibson Frank Zappa SG, complete with the family’s approval:
This performance has been been a big part of my life for several years now. I got the bootleg many years ago and fell for it right away. I had no idea that it was a trio appearance that was about 50% sequenced. I have looked askance at backing tracks and sequenced music when employed by rock bands to enhance their sound without adding (touring with and paying) additional musicians. U2, I am looking directly at you right now.
So, until tonight, I had no idea that such tactics had been employed in the transcendant 2002 Trilok Gurtu North Sea Jazz Festival appearance. I only had the audio portion and was unaware that the whole show was on youtube.
If you can’t be troubled to sit patiently, then just skip ahead to 24:50 and see what happens when tabla master Gurtu steps behind his drum kit. Swami DRUMS indeed!
But the real show here, even more extraordinary that Trilok’s other-worldy percussion, is the grace and perfection of Sabine Kabongo’s vocal performance. Her beauty and passion are a huge part of this entire performance, as they have always were in her days with Joe Zawinul.