The world is full of sound, a broad spectrum, ranging from noise to mathematically organized music. Let's enjoy it all. That's what these brave and brilliant musicians are doing! I don't care if most of the world wants to live in a tiny, familiar box but please stop telling the rest of us that that's the place to be.
If anyone thinks these musicians are putting everyone on, why would they chose a life where they struggle to make ends meet? So they can pull one over on the world? From what I can tell being around musicians who play this music is that they believe with all their heart that what they are doing is as real as they can be. They are sincere and hope people will find enjoyment in what they perform.
Using sound to express human feelings there should be no restrictions on its organization or style what these brave people are doing is taking another path to chart life
Reading these comments (in particular, Mr. Eric Wattree's comments) are just straight out hilarious. I find it funny that Cecil and Anthony are still pissing people off with their music, even after the musical revolutions of the 20th century. Keep in mind that if you create something that provokes debate for years, you've truly accomplished your artistry. As for you, Eric Wattree, I see comments like yours throughout UA-cam, particularly in avant-garde jazz videos. "I'm a lifelong jazz fan." Congratulations, you're one of the very many people who listen to jazz. Big whoop. It's one thing to offer actual criticism to music you don't like. Now, I understand you strongly dislike this and that's fine with me. But it's another thing to call this music fraudulent and dismiss avant-garde jazz listeners as "deluded." Do you honestly think Cecil, Anthony, and the audience are deluding themselves into this liking this music? Your comment is far more pretentious than the music you're trying to attack.
I've noticed that after 60 + years of music that has a lot of structure, my ear is more appreciative of the apparently formless...if only for the investigative element of continued surprise
I'd be the happiest man on this entire planet if I could find others that I could cohesively pull this off with. Wow. What pure emotion and brilliance go into this art
Here's something to consider. Why, when faced with evidence that people do, in fact, enjoy listening to this music, do you try to rationalize it away and claim that they're really lying, rather than just acknowledging that there are people whose tastes are different from yours? "No one has the courage to speak up?" People have been criticizing this kind of music for half a century. It's not as though it was universally loved until you had the courage to say something. Some do love it,though.
even Braxton's changing of instruments demonstrates his Genius, from the lowest frequencies to the highest. holding to the litmus test of his and most good modern music - Contrast!
uno de los últimos pilares de la música más estremecedora que he conocido fue portado el jueves 5 de abril de 2018 a los Campos Elíseos por el carro de fuego que arrancara al mítico Elías. No lo imagino de otro modo. Iker Seisdedos, entre tanto ruido mediático, le rinde un lúcido homenaje en El País que comparto plenamente. «Pocos músicos como Cecil Taylor podían presumir de haber llevado el lenguaje del jazz tan lejos, tanto como hasta rozar la última frontera. Pianista extraordinario, bailarín impetuoso, poeta abstracto e intelectual sarcástico, murió ayer en su ciudad, Nueva York, a los 89 años. Con su marcha, la improvisación libre dice adiós a una de sus leyendas, a uno de los últimos supervivientes de los tiempos heroicos en los que un puñado de intérpretes derribaron las estructuras y ya nunca más volvieron su vista al campo quemado de las convenciones rítmicas y melódicas. Nacido en Nueva York en 1929, Taylor se disputa en los libros de historia con aventureros como Lennie Tristano, Ornette Coleman y Sun Ra la introducción de la atonalidad y la paternidad de aquello que tuvo que bautizarse en los sesenta como free jazz (o new thing ), a falta de un calificativo mejor. El debut del pianista, grabado para el sello de nombre profético Transition, llegó en 1956 en Boston, ciudad a la que se había mudado a principios de esa década. Titulado muy apropiadamente Jazz Advance, se escuchó entonces como el temprano grito de una aguerrida vanguardia. Hoy, a diferencia de mucha de su producción posterior, no apta para espíritus débiles, suena con el aroma de los clásicos» .
Your comment warms my heart and makes me smile so deeply! We just finished recording 12 hours of Anthony's Syntactical Ghost Trance Music--first time with all vocals. I hope you have a chance to hear it after it comes out, and I hope you feel the same way.
I would love to see you and Braxton talking about music. I would love to see Braxton´s face after hearing your '' truths '', not only about music but about thousands of Braxton admirers, these admirers which you clearly know deeply, in person. You know that all are pretenders AND white AND pseudo-intelectuals. Ladies and gentlemen, Bill Hicks, the new Delphic oracle.
Feeling cannot be taught or educated. Abstraction, either. Feeling / abstraction : It IS or it ISN´T there. And I will copy your phrase : ' and I´m sure I´m not alone '
You can't come to this kind of music cold. You have to educate your ear. Start with Charles Mingus. Work your way up to Ornette Coleman. When you can sit through one of Cecil Taylor's 70-minute solos and _have some idea what he's doing_, then you can listen to this and make some sense of it. It took me years and years to get there.
I spent over a month copying down one of Cecil's "solos" when I was a music student. I have a perfectly good idea of what he's doing. Shucking and jiving. For fifty-five years. Shucking and jiving.
it´s funny how music like this sounds to most like shit and it does to me also at times -- even when it´s not...but when you´re listening it Livee and the band finds the unity, its like magic...most people would never believe it...I wish I had witnessed this meeting at the spot.
Vuelo de águilas que nos acerca a la magnitud del genio, seres que se buscan como partes de un mismo símbolo. Energúmenos entregados a un diálogo cuyo fin último se encuentra en el acoplamiento sim-bálico. A modo de trance originado por el poder recreador de la música. Recreación liminal pero no menos eficaz en su liminalidad, pues como sugiere Trías, «el símbolo es la forma de suplemento que a ese ser del límite corresponde. Posee también el símbolo duplicidad, así como la exigencia de un encaje. Este se produce en el acto sim-bálico consistente en «lanzar conjuntamente» el fragmento disponible, o simbolizante, del símbolo, y su otra parte (sustraída)» (“Razón y religión en el fin del milenio”, 2000: 520).
Maybe, but I thought it was a point that should be made. Besides, there's always that one in a hundred time when someone listens. If not the person I was responding to, then maybe someone who reads this. The irony of comments like his, of course, is that Braxton, Taylor, Coleman, Coltrane, etc, knew a lot about music and probably could have played anything they wanted to, yet choose to do what they do. It's insecurity that makes others feel the need to prove themselves by attacking other genres.
But this doesn't sound either disjointed or like noise. Sounds reflective and well structured, interactive and communicative, well paced and compositional.I Guess you really don't get out much!
The strangest thing is : why people like you, people who speak always with final statements terms and who deeply think that own the truth about what is and what is not good music, worry so much and waiste so much time with something you don´t like ? If you know the truth ( your truth ) and if this music or sound or whatever if it´s bullshit for you, ok, that´s it.
It is a complete waste of time trying to estabilish a polited, rational, respectable and sensible conversation with people who can´t see / feel that many people love other types of music and that other types of sound can actually be extremely pleasurable to them.
Somebody educate me. What am I missing? I was waiting for them to finish tuning up, only to find that they're in the middle of the tune - and I'm a lifelong jazz fan. I've never been able to get the point with either Cecil Taylor, or Ornette Coleman - and I'm sure I'm not alone, but others just won't admit it. They're simply saying they like what they're told they're SUPPOSE to like, and there's a lot of political significance to that kind of thinking.
While I realize that I don't corner the market on either knowledge, wisdom, or intelligence, I think this is a huge farce. For me, it seems counterintuitive to believe that ANYONE could actually like this disjointed noise. I think the king has no clothes, and no one has the courage to speak up., or either they're trying to delude themselves into believing they're uniquely insightful. Much of the genre is reliant on people's tendency to be phonies. I have a very low threshold for bullshit.
@freeavantgardevideos Haha you probably have to have the same argument on every video u post..it would be funny tho if free jazz and avantgarde music was some grand pseudo-intellectual conspiracy
The world is full of sound, a broad spectrum, ranging from noise to mathematically organized music. Let's enjoy it all. That's what these brave and brilliant musicians are doing! I don't care if most of the world wants to live in a tiny, familiar box but please stop telling the rest of us that that's the place to be.
If anyone thinks these musicians are putting everyone on, why would they chose a life where they struggle to make ends meet? So they can pull one over on the world? From what I can tell being around musicians who play this music is that they believe with all their heart that what they are doing is as real as they can be. They are sincere and hope people will find enjoyment in what they perform.
Using sound to express human feelings there should be no restrictions on its organization or style what these brave people are doing is taking another path to chart life
Reading these comments (in particular, Mr. Eric Wattree's comments) are just straight out hilarious.
I find it funny that Cecil and Anthony are still pissing people off with their music, even after the musical revolutions of the 20th century.
Keep in mind that if you create something that provokes debate for years, you've truly accomplished your artistry.
As for you, Eric Wattree, I see comments like yours throughout UA-cam, particularly in avant-garde jazz videos.
"I'm a lifelong jazz fan." Congratulations, you're one of the very many people who listen to jazz. Big whoop.
It's one thing to offer actual criticism to music you don't like. Now, I understand you strongly dislike this and that's fine with me. But it's another thing to call this music fraudulent and dismiss avant-garde jazz listeners as "deluded."
Do you honestly think Cecil, Anthony, and the audience are deluding themselves into this liking this music?
Your comment is far more pretentious than the music you're trying to attack.
Perfect Peter.
:)
I find this powerful and moving. Why do those who don't, feel the need to criticize. Listen to what you want.
Awesome to watch Anthony Braxton and Cecil Taylor play together that I never heard before.
Thanks for share
William Parker, Bass. Not attributed in the description for some reason.
Anthony and Cecil can outplay jazz or classical with the best of them. Long live the Avant garde
RIP Cecil
I've noticed that after 60 + years of music that has a lot of structure, my ear is more appreciative of the apparently formless...if only for the investigative element of continued surprise
Yes, it is sometimes boring to return to form. ii V I cadences, unless performed by a master, usually aren't very interesting.
I'd be the happiest man on this entire planet if I could find others that I could cohesively pull this off with. Wow. What pure emotion and brilliance go into this art
Here's something to consider. Why, when faced with evidence that people do, in fact, enjoy listening to this music, do you try to rationalize it away and claim that they're really lying, rather than just acknowledging that there are people whose tastes are different from yours? "No one has the courage to speak up?" People have been criticizing this kind of music for half a century. It's not as though it was universally loved until you had the courage to say something. Some do love it,though.
awesome never heard braxton with cecil before. It really works.
Wow! Amazing!!
Thanks for loading - this music makes me happy to be alive - it's put me in a really good mood..... So thanks again.
even Braxton's changing of instruments demonstrates his Genius, from the lowest frequencies to the highest. holding to the litmus test of his and most good modern music - Contrast!
Four monster players at the top of their game, i was at this concert and can honestly say if was an amazing experience.
no,this is great.
The Re-creators...Re-designers are at work which they truly love.
uno de los últimos pilares de la música más estremecedora que he conocido fue portado el jueves 5 de abril de 2018 a los Campos Elíseos por el carro de fuego que arrancara al mítico Elías. No lo imagino de otro modo. Iker Seisdedos, entre tanto ruido mediático, le rinde un lúcido homenaje en El País que comparto plenamente. «Pocos músicos como Cecil Taylor podían presumir de haber llevado el lenguaje del jazz tan lejos, tanto como hasta rozar la última frontera. Pianista extraordinario, bailarín impetuoso, poeta abstracto e intelectual sarcástico, murió ayer en su ciudad, Nueva York, a los 89 años. Con su marcha, la improvisación libre dice adiós a una de sus leyendas, a uno de los últimos supervivientes de los tiempos heroicos en los que un puñado de intérpretes derribaron las estructuras y ya nunca más volvieron su vista al campo quemado de las convenciones rítmicas y melódicas. Nacido en Nueva York en 1929, Taylor se disputa en los libros de historia con aventureros como Lennie Tristano, Ornette Coleman y Sun Ra la introducción de la atonalidad y la paternidad de aquello que tuvo que bautizarse en los sesenta como free jazz (o new thing ), a falta de un calificativo mejor. El debut del pianista, grabado para el sello de nombre profético Transition, llegó en 1956 en Boston, ciudad a la que se había mudado a principios de esa década. Titulado muy apropiadamente Jazz Advance, se escuchó entonces como el temprano grito de una aguerrida vanguardia. Hoy, a diferencia de mucha de su producción posterior, no apta para espíritus débiles, suena con el aroma de los clásicos» .
Thanks.
Wow, fantastic rare piece by these music giants!
ALUCINANTE......BRAXTON Y SU RESPIRACION CIRCULAR....
Now I get why Wynton Marsalis says that "this isn't jazz at all". But this is very good
Inner sound of universe. Inner sound of human body. Inner sound of everything.
Your comment warms my heart and makes me smile so deeply! We just finished recording 12 hours of Anthony's Syntactical Ghost Trance Music--first time with all vocals. I hope you have a chance to hear it after it comes out, and I hope you feel the same way.
I would love to see you and Braxton talking about music. I would love to see Braxton´s face after hearing your '' truths '', not only about music but about thousands of Braxton admirers, these admirers which you clearly know deeply, in person. You know that all are pretenders AND white AND pseudo-intelectuals. Ladies and gentlemen, Bill Hicks, the new Delphic oracle.
Fantastique! Merci pour le partage...
Feeling cannot be taught or educated. Abstraction, either. Feeling / abstraction : It IS or it ISN´T there. And I will copy your phrase : ' and I´m sure I´m not alone '
AMEN! AMAZINGLY WORDED!!!!
You can't come to this kind of music cold. You have to educate your ear. Start with Charles Mingus. Work your way up to Ornette Coleman. When you can sit through one of Cecil Taylor's 70-minute solos and _have some idea what he's doing_, then you can listen to this and make some sense of it. It took me years and years to get there.
I spent over a month copying down one of Cecil's "solos" when I was a music student. I have a perfectly good idea of what he's doing. Shucking and jiving. For fifty-five years. Shucking and jiving.
it´s funny how music like this sounds to most like shit and it does to me also at times -- even when it´s not...but when you´re listening it Livee and the band finds the unity, its like magic...most people would never believe it...I wish I had witnessed this meeting at the spot.
Grandiose!
Vuelo de águilas que nos acerca a la magnitud del genio, seres que se buscan como partes de un mismo símbolo. Energúmenos entregados a un diálogo cuyo fin último se encuentra en el acoplamiento sim-bálico. A modo de trance originado por el poder recreador de la música. Recreación liminal pero no menos eficaz en su liminalidad, pues como sugiere Trías, «el símbolo es la forma de suplemento que a ese ser del límite corresponde. Posee también el símbolo duplicidad, así como la exigencia de un encaje. Este se produce en el acto sim-bálico consistente en «lanzar conjuntamente» el fragmento disponible, o simbolizante, del símbolo, y su otra parte (sustraída)» (“Razón y religión en el fin del milenio”, 2000: 520).
+pedro a. cantero Tienes orejas poderosos! ¡Y también te agradezco para sus pensamientos aquí y en otras videos bien escritos!
Gracias Ryan por tu generosidad
Maybe, but I thought it was a point that should be made. Besides, there's always that one in a hundred time when someone listens. If not the person I was responding to, then maybe someone who reads this. The irony of comments like his, of course, is that Braxton, Taylor, Coleman, Coltrane, etc, knew a lot about music and probably could have played anything they wanted to, yet choose to do what they do. It's insecurity that makes others feel the need to prove themselves by attacking other genres.
ALUCINANTE......
I think it's funny that some find this comment offensive. He's absolutely right.
Wow!!!
Perfect.
AMEN!
good stuff
But this doesn't sound either disjointed or like noise. Sounds reflective and well structured, interactive and communicative, well paced and compositional.I Guess you really don't get out much!
who is playing contrabass? William Parker? I can't see the visage.
William Parker on bass, Tony Oxley on drums
Sound effect. There is also sound affetcs.
damn! dis da shit...
when do they play is this warming up???
sounds like a tornado.
What the fuck? There is some amazingly racist shit in these comments.
The strangest thing is : why people like you, people who speak always with final statements terms and who deeply think that own the truth about what is and what is not good music, worry so much and waiste so much time with something you don´t like ? If you know the truth ( your truth ) and if this music or sound or whatever if it´s bullshit for you, ok, that´s it.
It is a complete waste of time trying to estabilish a polited, rational, respectable and sensible conversation with people who can´t see / feel that many people love other types of music and that other types of sound can actually be extremely pleasurable to them.
It seemed sensible when I wrote it. And I don't go to bars.
Somebody educate me. What am I missing? I was waiting for them to finish tuning up, only to find that they're in the middle of the tune - and I'm a lifelong jazz fan. I've never been able to get the point with either Cecil Taylor, or Ornette Coleman - and I'm sure I'm not alone, but others just won't admit it. They're simply saying they like what they're told they're SUPPOSE to like, and there's a lot of political significance to that kind of thinking.
Eric Wattree I’m a long time jazz fan too, but I don’t limit my listening to a certain era of jazz.
@@HeathWatts this is not jazz
@@rinahall Your definition of jazz is likely very narrow.
@@HeathWatts you too
@@rinahall Your reply makes no sense.
While I realize that I don't corner the market on either knowledge, wisdom, or intelligence, I think this is a huge farce. For me, it seems counterintuitive to believe that ANYONE could actually like this disjointed noise. I think the king has no clothes, and no one has the courage to speak up., or either they're trying to delude themselves into believing they're uniquely insightful. Much of the genre is reliant on people's tendency to be phonies. I have a very low threshold for bullshit.
Crooks!
Ummm, I agree with Wynton Marsalis. Furthermore, this is sound effect material.
@freeavantgardevideos Haha you probably have to have the same argument on every video u post..it would be funny tho if free jazz and avantgarde music was some grand pseudo-intellectual conspiracy
This is nothing!