100000000000/10

100000000000/10
youtube.com/watch?v=rtW1S5EbHgU

is that Ugly God lol

I don't listen to meme Jazz. No thank you.

I wasn't too crazy about The Epic but this sounds like heaven

Uhhhh there's a lot of touching in this video.

P good, digging the video. What i'm really excited for though is to snag the dank ECM reissue of the chick corea/gary burton album from '73

Fuggin' 'ell. Sounds like he's getting better and better. So glad I got to see him live, guy is quite the performer and his band was just going off.

What makes this meme jazz?

meant to reply to

This is 5/10 elevator music would rather listen to Girl From Impanema or Best of the Weather Channel

Jealous

Spending 5 minutes building a crescendo over two chords and a vamp gets really fucking boring without a good soloist. The people I presume were the "soloists" like the vibes were just adding prewritten pentatonic frills more as part of the accompaniment/sonic wallpaper. The drums were great for what it's worth, but there's only so much you can do from the backline and I was sick of this by about 2 minutes in when nothing interesting had happened. The crescendo just seemed lame 3 minutes later after all the time spent faffing about the place.
When they drop the lame ass choir and strings, things get more interesting cause Kamasi is actually an ok soloist. He starts off pretty slow and without much direction. The drummer is trying so hard to get everyone else into what's going on, and it takes a bit of time, but eventually the pianist does pick up on his energy and starts getting more adventurous harmonically and playing off what Kamasi is doing. He uses the same trajectory and ideas as most of his solos on The Epic, but I don't mind that, if it's done well and the rest of the band is playing along and the drummer and pianist are for the most part. The bassist must be Thundercat because the other bassist on The Epic actually knew how to solo/break outside an ostinato-fill pattern when needed.
I don't think the cheesy smooth jazz strings/choir vocals were needed or added anything to the solo. When the arrangement is monotonically repeating the same lines over and over, they make things feel more static when there's actually somewhat dynamic interplay in the core group.
The outro had the same problem as the intro: slow built crescendo with no interesting frontline. It all just feels supremely fucking superfluous. Same with the vibes part in the intro, the guitar ostinato just added nothing.

>Tldr: Kamasi's solo was good but there was about 7 minutes of boring fluff that didn't need to be there at the start and end.

>Best of the Weather Channel

People only listen to it because he played with Kendrick/FlyLo. There's so much jazz just like this.

>I was sick of this by about 2 minutes in when nothing interesting had happened.
Fair enough, but plenty had happened not just "two chords." Instruments and parts keep coming in every minute or so to play with the theme. Then you get the soloing, then the reprise of the theme.

Also, do you never listen to any music that repeats a part? There is merit to just feeling a musical sequence and letting it wash over you a number of times. It seems to me that the title is very appropriate here; a formidable, imposing thing, and yet ultimately a thing you can rely on and it is immutable. I could see this sound representing a powerful, enduring truth to Kamasi, and I think the music deftly translates that.

>plenty had happened not just "two chords."
Read what I said again. I said "over two chords and a vamp" which is different to "all they did was play two chords".
>Instruments and parts keep coming in every minute or so to play with the theme.
The new instruments and parts come in with different themes. The new parts aren't all that similar to the main one or each other so saying they're playing with the theme is mischaracterizing what's going on and implies some sort of melodic development of ideas that isn't there. Also, the new themes were pretty fucking uninspired and as I said, float in and out inconsequentially without changing very much or offering up anything new. Any sort of feeling of momentum the intro and outro have come out of the achingly slow rising dynamics.
>Also, do you never listen to any music that repeats a part? There is merit to just feeling a musical sequence and letting it wash over you a number of times.
I do. However, I think if you're not making ambient music that you need to actually do something interesting if you're planning on having an ostinato repeat for longer than 2 minutes. I find music that's supposed to demand attention but which doesn't go anywhere interesting at any reasonable pace boring. Parts of the Kamasi's solo exemplified how one can use a repeating backdrop or static harmony as a tool for building tension and release without having to think too hard about what you're doing, but the intro and outro just plain didn't. It was like listening to aural paint dry.
>It seems to me that the title is very appropriate here; a formidable, imposing thing, and yet ultimately a thing you can rely on and it is immutable. I could see this sound representing a powerful, enduring truth to Kamasi, and I think the music deftly translates that.
Yeah, he's excellent at marketing. You'll never find a lame or unprovocative title in Kamasi Washington's oeuvre.

I mentioned the title not in regards to his 'marketing', but with its connection to the structure and sound of the song and why he might have written this piece in the first place. Anyway, I liked the song and thought it sounded good throughout.

Well I had thought that Kamasi had some potential to make some good music but I'm starting to doubt it.

shit goes hard (way harder than Kamasi)

wow, this is generic as hell. Goodbye to potential and hello to memedom.

Yeah, don't mind me. I'm just being a cynical ass. Enjoy what you enjoy. I'm just grouchy cause I really want Kamasi to do something I'll like.
Oh sheet. I thought you were joking.

Its plain and simple ladies and gentlemen. Kamasi Washington lacks the harmonic chops to either write an interesting tune with developed, lush harmony, or solo effectively moving through different chordal ideas, scalar ideas, color tones, or effective use of the upper structures that jazz musicians had pretty much made a standard part of the music with the teachings of dizzy, monk, bird, and mingus. In short, this is just a crescendo on a vamp with a lot of pentatonic sounds. Whats wrong with pentatonics you ask? Well theyre a great device, especially when constructing short melodic statements which you can develop into motifs and use as a grounding force in your improvisation, but they are scales specifically designed to avoid any sort of dissonance against the harmony. Basically it strips the tune of its potential harmonic balls.
>nuff nuff