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Looper's Delight
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Yo Matthias, Matthias Grob wrote: > of course it would be nice to promote the work of all of us, but how? My suggestion would be to look at the spectrum of looping in general. Find examples of how it's employed in as many different styles and genres as possible. This, to me, is the best way to promote "the art form of looping," because you have the widest possible description of the technology. > good! How would you "subdivide"? Principally by style/genre. > >So people who've never heard of Robert Fripp but really like Chet Atkins > >could be drawn in by his Grammy-award winning use of a JamMan in a song > >of the same name. Jazz fans who don't want to hear about Ritchie > >Hawtin's Repeater exploits could be intrigued by Bill Frisell or John > >Scofield's stuff. And so forth. > > right! Please do the "so forth", too, what more? Off the top of my head (and using highly visible names on purpose): Rock: Neal Schon, Vernon Reid, Trey Anastasio, Steve Howe, Brian Eno Funk: Doug Wimbush, Will Calhoun Pop: Peter Gabriel, Jon Brion Classical: Terry Riley, Paul Dresher Fusion: Victor Wooten, Frank Gambale, Michael Manring > my thinking was that concentrating on the main thing would make it > clearer and thus attract more public, or at least, animate them more. But what exactly is "the main thing," you know? For you, and admittedly for a lot of this list, "The main thing" is ambient experimental avant-garde fringe music. But my points are that there's a lot more to looping than just the ambient experiemental thing, and that by showcasing the diversity of styles the technique exists in, you'll expand the potential audience hugely. People who aren't into ambient or experimental stuff will suddenly have a reason to check out looping in general, because they can see how the techniques can be applied to "normal" music. > But now that we are already in the middle of it, here are > more points to complete: > > - List of favorable performance places with links, so the musicians > can offer their work there. (this could actually happen on LD, just > as well) But here again, you're talking about imposing a stylistic/aesthetic association onto an instrument. If a person talks about a "loop-friendly venue," they're probably talking about a place that's open to ambient/experimental music. That's making a genre/niche assumption about how the tool is used, which is obviously what I'm so vehemently opposed to seeing happen. If you're trying to address looping as a non-genre-specific tool and instrument, then there's no such thing as a "loop-friendly venue," any more so than there are "recommended venues for guitar players" or "cello-friendly venues." If you play modern classical music on an electric guitar, then you can get a gig in a concert hall. If you play rock music on a cello, then you book a gig in a rock club. So if you play jazz with a looper, are you going to book a gig in an ambient venue or a jazz venue? > ok, you brought me down to ground. Oh, I doubt ANYONE could do that! ;) (Said with all possible humor.) > I dont know enough about it really. I think you know as much about it as any single person in the world. But NOBODY knows about all of it, right? > I am experiencing what it means to say too much on a list. Well this is some of the best dialogue I've seen here in ages, so thank you for bringing it up. I hope it hasn't been too painful for you. ;) > people create long projects before they understand what for and then > ask that in the end. That's allowed, certainly? > And I still don't know whether I play loop music or whether looping is > an art form. Uh oh... :() > I will stop here for a while here and then see how I go on. Well please stick around and keep us informed! Very best wishes, Mr. Grob. --Andre