Rok, you are without a doubt (allowing for the vagaries of the printed word composed on line, of course) one of the most arrogant individuals that I have ever come across. Time and time again I show you the respect that you don't show others, by praising your passion for music while at the same time encouraging you ( and showing you how) to expand your horizons. You lash out, you insult and you posture about a subject about which you have, in the scheme of things, very limited and pedestrian knowledge and understanding; with nary even and occasional "hmmm, I don't quite see it that way, but let me think about it". One would think that offered the opinions of someone who has played music since age five, has spent years studying every aspect of it and has done nothing else professionally for forty years that a person would do at least that. Incredibly, you seem unaware of the path that you leave behind you at every turn, not just in this thread; while continuing to blame everyone except yourself for the garbage left behind. As far as this thread goes, you are, and have been looking at the proverbial gift horse in the face. Unfortunately, your admitted "blocks" apparently go well beyond the subjects of "fusion" and music in general. But, alas, musicians are born-teachers; psychologist is above my pay-grade, in spite of what O-10 may think :-) I may be "incorrigible" by your definition of the word, but man, you are out of your league and don't know it; or just like to keep stirring the pot (Mariah Carrey, Boys2men, seriously?)
Now the Wynton clip: "like it better than the WR". I am tempted to say:
"You're kidding, right?" Obviously, the last several posts have been a complete waste of time; too bad, for you, really. I will not repeat everything that I tried to share before about the pointlessness of that kind of comparison. Nonetheless, some comments about Wynton:
Wynton sounds fabulous; beautiful warm trumpet sound, nice rhythmic feel, and excellent command of the vocabulary of that kind of jazz. Notice I said "sounds"; that is key. Now, some insight about (to quote you) "the finer points of jazz" that may elude the "unwashed masses", and why, at the end of the day, I would much rather listen to others (Louis, Warren Vache) playing that style of music:
Notice how he plays phrases that are not tied together in a way that "tells a story from beginning to end", he doesn't have a "vision" (O-10) of the whole of his improvised composition. He says this, then this, then that. The great players always gave the listener a sense of the big picture of what they were saying; not in spurts. And when they did play "in spurts" they connected it all with the right SILENCE (this was one of miles' calling cards). Notice how little silence there is in his solo; he has to fill up very beat, and there is a sense that he doesn't know quite know to end his solo; when to stop (sound familiar? :-). Good command of vocabulary does not a great author make.
