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Re: er, zorn, bungle, bailey, brotzmann
> That said though, I really get into Mr. Bungle's records and I've
never seen them live. They edit and otherwise manipulate their stuff
a lot though and work on making the recording pretty exciting, unlike
Brotzmann, Bailey, and other improvisors who use the recording more
like a document.
I was surprised to find that they executed many of the bizarre
dynamic, melodic, and rythymic flash cuts from their recordings with
as much or more effect live. With a super loud top volume their
dynamics were quite visceral... and scary. Patton and co. lull you
with some lush vocal harmony and then sledgehammer you with brutal
ring modulated shrieking and shred metal guitar and synth noise...
They're the best I've ever seen at that level of integration.
> So anyway, what I've found is that the "pure" approach works best
live and the studio is good for tweaking so things sound good without
that live improvisational element, which
probably isn't capturable on record. I'm interested in how other
people approach this.
Like I said earlier... Bungle's records, while interesting, aren't
quite the experience of them live. And they definitely push the limits
of what transfers from the studio to the stage.
Miles Davis and Teo Macero did a pretty nice job of taking live
moments and "studioizing" them.
Fred Frith is another who seems to capture his live "spirit" on tape
fairly well. Guitar Solos is a walk on the razors edge...
Nels Cline Trio is also quite a ride... It's surprising how much
interplay there is in that ensemble and how well it translates to a
studio document. I'd love to see them live... They do some pretty
radical flash-cut transitions live as well...
Also... is anybody else thinking that Bill Frissells laid back stuff
just ain't getting there anymore? (Just an opinion... to his credit,
he's still throwing loops out there. 8-b)
Miko Biffle, firstname.lastname@example.org
"Running scared from all the usual distractions..."