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Hey there David,
Hedewa7@aol.com wrote:
> miles davis>lee perry>squarepusher>you, or
I'm curious: where do you draw the influence connection from Miles to
Perry? I don't know Lee's work so well, but my (admittedly
under-informed) impression is that the most dub-oriented material of the
Davis stuff ("Get Up With It" and "On The Corner" would be the main
examples to me) existed more or less at the same time that Perry was
doing a lot of his most seminal work (i.e. early- to mid-'70s.)
As I say, I don't know Perry's output, so I'll happily defer to a more
informed source. More than anything else, I'm curious to know where
Davis' influence might have reared its head most prominently, and which
elements of it worked their way into the Black Ark as it were...
On a totally different note, I was listening to OAH the other day and it
occured to me that it's some of the most "ambient" music I've ever
heard. Not in the guitar-loop-soundscapy-wallpaper sense, but in the
sense that much of the material seems to sort of hang there in the air,
inviting attention from a variety of different perspectives. It strikes
me more as "sound sculpture" than as any sort of narrative construction
(or fractured narrative, for that matter).
Am I nuts?
Wait, don't answer that...
Luv,
Andre LaFosse | Disruption Theory | http://www.altruistmusic.com
================================================================
"A spectacular collision of manifold musical thoughts and patterns... To
call Disruption Theory a futuristic album would be an understatement."
(20th Century Guitar Magazine, February 2001)
"His six-stringer is pumped up with energy, creating a firestorm of
pyrotechnics and burning sounds, but with a sensitivity to weirdness and
experimentation. Disruption Theory reveals the difference it makes when
a player knows what he is doing. Here is one that deserves the title
'unique'." (Expose Magazine, October 2000)
"Fripp and Zappa, step aside." (MOJO Magazine, May 2000)