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> Hey guys,
> If some people dig this free improv stuff that's cool by me.
> I like the free improv. = free entrance fee idea since it would
> encourage more people to investigate this stuff and if they didn't
> like it they wouldn't feel too put out.
>
I guess that one could say about anything. I have an aversion to
seeing rock bands that seem to me to be recycling stuff. Should they play
for free too? Club owners probably wouldn't like that anyway . . . besides
almost all of the gigs that I play here in LA (which feels like a wasteland
to me right now) have been free in terms of me not getting any money, seems
that the doorguy and bartender will end up getting paid more than me.
> When I mean't good and bad I was thinking from the pov of composing
> music by accepting/rejecting notes/phrases/textures etc. This
> filtering process to me is the job of a composer. You could broaden
> it out to accepting/rejecting musical processes but I still think
> a clever idea is not enough.
>
When an improv is really clicking it is like collective composition
(IMHO). I've heard lots of "compositions" that seem to have less going for
them than improvs.
Whenever I'm playing improv stuff half of my time is spent figuring
out when NOT to play, when not to start a loop, when to jettison the loop
idea I was going to start, etc. I can tell when someone's really listening
by watching them getting ready to play and then stopping because they
realize that the idea that they had 20 seconds ago is now obsolete.
(Rejecting)
Conversely, when someone starts up a good idea I try to jump in and
lock in with 'em, either texturally, groove-wise, etc.(Accepting)
I've heard lots of clever ideas masquerading as compositions . . .
> The sound is the thing
>
On both the improv and composition fronts.
> I haven't seen Titanic either does that make me cool ;)
>
Just me feeling out of touch/jaded/frustrated/etc. NOT "cool" . .
.
> Good to meet another Greenaway fan :)
>
likewise
stig