Young people are so lucky to have these vids. Back in the day we had to learn this stuff by constantly lifting the needle and playing back the difficult bits till we got it right.
By playing this repeatedly you might learn a lot about how they are listening to each other, a skill we can all work on as musicians and which is arguably more important than learning licks.
I’m not sure how common it is for people to transcribe free improvisation. I love playing that way, and I’ve tried to incorporate some of Derek Bailey’s techniques but I’ve never tried to transcribe any of his performances, I think you’d be there for days tryna figure it all out.
As great as he is it doesn't look like he has any plan going forward hes just playing and listening etc. There is nothing to emulate It's free and provisation it's not written. The next time he plays something completely different...
you gotta admit it'd be hilarious if right at the end of the set they busted out a note perfect rendition of dirty deeds done dirt cheap just to fuck with everyone
@@sssnacksss I know, not original really is it.... It does tickle me though thinking of a couple, both finding beauty in this music whilst the guests look on, all wondering what the hell is going on. It's the juxtaposition of contexts that amused me, doesn't mean I don't appreciate Bailey's music though ☺️
Thank you for posting this! One of the great couplings of musicians. I know a lot of people in the comments don't get this. Fair enough! But I genuinely appreciate seeing the creators of the albums "dark drug" and "drops" doing their thing live.
Deerhoof guitarist led me here. Ed Rodriguez. They are my favorite band, even dare to say Deerhoof is my the Beatles. Sonic Youth was first band with disonance and throughout the years came along captain Beefheart and his magic band. “Math” rock band called Hella. King Crimson, no need for introduction. Also Bartok… One day it dawn to me while listening to my 3-4 year old niece improvising. The sound was disonant but she’s smiling and enjoying random hits on keys. There are people who tap into music whatever style it is and get something out of it and there are those who can’t comprehent it. That’s alright too. They can troll and make fun of it, but it doesn’t matter and no need for explanation, just like David Lynch picture. Or Andrei Tarkowsky picturesque scenes. Some say “ringing in your ear” happens when an angel speaks.
Tony Oxley - what an amazing drummer. To go from the straightahead swinging playing on Seven Steps to Evans (with Kenny Wheeler et al) to this…. Great musician…. Han Bennink has the same range…
Saw Oxley, Fred Frith and John Zorn just days after this performance in Chattanooga, TN back in mid September, 1995 at the Hunter Museum of Art. Unfortunately, Derek Bailey became ill and had to return to England (good ole' National Health Care and all that, I suppose).
I can vividly remember many years ago when Tony was doing a solo season at Ronnie Scotts and he popped into visit me in the early hours of the morning, at that time I showed Tony a very heavy gauge frying pan, about 13 inches diameter and about 1/8th inch in thickness which produced a most powerful and resonant clang which he loved the sound of so much that he was prepared to part with some cash - alas it was not for sale. We would spend hours discussing just how corrupt the music industry was and what a waste of time it was being a member of the Musicians Union. This was over 30 years ago and I haven't seen Tony since - I think he lives in Germany now - apparently he has taken up painting and sculpture, according to what I have been told by some other friends who have worked with him in the past. I can imagine Tony reading some of the disparaging comments made by those who are either incapable of hearing or unwilling to listen and then replying in his broad Yorkshire accent "Well if you don't like it, then bugger off somewhere else!" Turning now to Mr Bailey, have any of you seen his amazing documentary series "Derek Bailey On The Edge" - recommended viewing and listening. If I may conclude by doctoring an aphorism by Edgar Varese: "The freely improvising musician refuses to die"
Congratulations to all those who appreciate and enjoy this, but I cannot hear any interesting or melodic sound in the whole kakophony Emperor's new clothes job this. (No offence intended to anyone). If like the painter Whistler, these two guys were to sue me for my remarks , I suspect the judge would side with them and award them a halfpenny damages like he did Whistler.
@@neckercube1257 Thanks, neckercube1. You're right on the money. What most critics who hate free improvisation don't realize is that both Bailey and Oxley were seasoned studio musicians, could play rings around most people, could sight-read almost anything. They prefer free improvisation because they like it.
@@davelanciani-dimaensionx Your remark leaves me in need of education, so in the interests of my enlightenment I would appreciate answers to the following two questions (a) what is "actual" music ?, and (b) what exactly do you mean by "Bailey just isn't "playing" anything" ? As a quid-pro-quo here I will offer something for your enlightenment - You need to study music in more depth before making comments like that - I would suggest you begin with a study of the Richter scale. . . . .
It differs because this music stems from an ethos surrounding music production, involves an understanding of how to prouce specific sounds whenever they are necessary, and involves, crucially, _intention._ 7 year old could make noise, certainly, but this is not noise. It's a conversation between two musicians, only the vocabulary is different to what you're used to hearing. Your ignorance on the matter is hardly your fault, but, really, it is just an ignorance of a long, _long_ musical tradition. I'll copy and paste this from another of my comments: If you want to understand this type of music better, and understand why it sounds the way it does, you can read Derek Bailey's own book Improvisation, Ben Watson's Derek Bailey and the Story of Free Improvisation, John Corbett's excellent A Listener's Guide to Free Improvisation, Ekkhard Jost's Free Jazz, or, even more basic, since you seem to have redefined "music" for your own purposes, and that'll need correction, Nicholas Cook's Music: A Very Short Introduction. For the love of god, try to learn about the music you don't understand, instead of making snide comments. You might find it changes how you think about music in general. You might find it changes more.
It really isn't hard to see that Oxley is an absolutely competent improvising musician, to me this is clear from the first few bars. Yes, they don't play a regular beat but this music is full of thought, accuracy and vitality. Instead, it's very sparse in regularity and repetition, which makes it difficult to listen to and even overcome the first impression that it's mere chaos or children making noise on instruments. Myself, I'm sure I can easily distinguish a drumming child (or chimpanzee) from Oxley. This is a musician from the absolute top of improvised and jazz music. Bailey, moreover, is the same. You don't have to expect to understand what they "meant" (they meant just "playing together"), as if it were a song or even a sonata. You just need to catch the flow, tune in to this music - and enjoy it. And you've got it. What? Well, just that ;)
