Khan Jamal played cowbell on an unreleased recording of mine. Byard Lancaster pulled together a session in Germantown in Philly, and Odean Pope and Khan just showed up. (This was over 20 years ago.) That was Philly for you.
Been playing this a few times this week for my art classes. The opening seconds led me to think it would be some pleasant enough background music to tick things over, but then it kicks in and gets interesting. I enjoy the other albums available too. Ears must not get complacent.
Accidentally was playing this at double speed, "like what the hey?" and then I was all like, "Oh, i must've been playing this at double speed." and I slowed it down and it sounded more like my tempo. Thanks for the uploaded. The dark, bassier tonality of the mallet instrument here is juicy. Drums and sax, what more could you ax?
Just because you don't understand the style of they're trying to portray doesn't mean there's something wrong with it it's called keep an open mind.... I think it's unique in its own way as a matter of fact I own this piece of work,..,..🤔
This is the kind of jazz I just don't understand. The sax in the first track is either deeply out of tune and/or is just not playing along at all with the chord structure. Is that what "modal" is? To play any/every note that doesn't fit a key?
Great question! This album is really a dive into the deep end of jazz waters. What you're hearing is not just randomness, but a rich tapestry of musical exploration. The saxophone on the first track might sound out of tune or disconnected from the chord structure, but that's intentional. This style often falls under the umbrella of "free jazz," where traditional boundaries and structures are pushed aside in favor of pure expression. Modal jazz, unlike its more structured predecessors, is about scales (modes) rather than chord progressions. Think of it as painting with a palette of colors that aren't confined by outlines. Each note can be a bold statement, a departure from the expected, designed to evoke a raw, emotional response. Artists like John Coltrane and Miles Davis pioneered this approach with albums like "A Love Supreme" and "Kind of Blue." They weren't just playing notes; they were telling stories, full of tension and release, dissonance and harmony. So, yes, in modal jazz and free jazz, you might encounter notes that seem out of place within traditional scales and keys. It's less about fitting into a box and more about exploring the spaces outside it. It's jazz with the brakes off, a wild ride through a sonic landscape where every note, even the unexpected ones, has a place. Keep listening, and you might find that what seems like chaos at first is actually a profound, albeit unconventional, form of musical dialogue. Thanks for diving into the deep end with me!
@@wtflac Thank you so much for the elaborate answer. As a visual artist I do appreciate the concept. I suppose this style would be similar to what was happening in the painting world around the same time with abstract expressionism (Pollack, et al.). Very much acquired tastes, both.
Absolutely! You’ve got it. Free jazz and abstract expressionism are kindred spirits, both tearing down boundaries and diving into raw, uncharted emotional territory. Definitely acquired tastes, but once they click, it’s like unlocking a new dimension. Thanks for making the connection!
well modal refers to a progression or the rules of any given progression or structure, and then you smash it! right? been playing rock and electro so long, still don't care to grasp any of that academic stuff lol its nice tho
