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Re: Dancing the slow hora

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

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