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Re: Dancing the slow hora
- From: HNetsky <HNetsky...>
- Subject: Re: Dancing the slow hora
- Date: Mon 05 Jun 2000 01.24 (GMT)
In a message dated 6/3/00 2:25:22 PM, media (at) kamea(dot)com writes:
<< Hankus:
Please don't stop now.
I am interested in how you tie these figures together musically.
Can we coax a brief posting from you?
Best wishes,
Wolf
HNetsky (at) aol(dot)com wrote:
> Bradwein had an unparalelled bag of rhythmic tricks and articulations. He
> was Miles Davis, Frank Sinatra, and Billie Holliday all rolled into one.
> --Hankus
>
What links all these figures together is what some people call "variety."
Knowlege of repertoire, life experience, creativity, and technique all
interact and the result is playing which, when merely imitated might be more
Connick than Sinatra (Sorry, Harry, are you on this list too?). Don't get me
wrong, accurate imitation is an essential part of the learning process, but
it's only the "repertoire" componant. This is why for my money Sun Ra's
Arkestra captures a lot more of the New Orleans spirit than the guys in the
straw hats. It may be harder to dance to music with lots of variety, as
alluded to in the original posting (note that the swing revival was built
around Louis Prima, not Ellington or Basie) but perhaps it tends to endure
more as art. --Hankus
---------------------- jewish-music (at) shamash(dot)org ---------------------+
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