«Today’s Lyrics Are Pathetically Bad» Rick Beato


He know better than me. He is a musician and i am not.  I dont listen contemporary lyrics anyway, they are not all bad for sure, but what is good enough  is few waves in an ocean of bad to worst...

I will never dare to claim it because i am old, not a musician anyway,  i listen classical old music and world music and Jazz...

And old very old lyrics from Franco-Flemish school to Léo Ferré and to the genius  Bob Dylan Dylan...

Just write what you think about Beato informed opinion...

I like him because he spoke bluntly and is enthusiast musician ...

 

 

https://www.youtube.com/watch?v=mQoWUtsVFV0

128x128mahgister

@mahgister

You seem to be saying there exists a sort of Jazz "blueprint" that has been absorbed/integrated into many other genres, worldwide. You also seem to acknowledge that these other genres have, in turn, influenced Jazz.

What, so far as I can tell -- and I admit I’m not doing a very good job of understanding your meaning-- you haven’t spelled out in musical terms, is what it is at the core of Jazz that comprises its universal aspect.

Particular rhythms? Particular scales? Use of altered dominant 7th chords? "Vertical improvisation" in which a soloist "outlines" each chord change, as opposed to "horizontal" improvisation that tends to focus on developing longer themes or in the case of modal compositions, can employ a single scale over an entire progression? Something else?

Perhaps this is what you are hoping our resident Jazz expert @frogman will define?

Sorry if I’m being especially dense, here. Just trying to gain a clearer picture. ;o)

 

@mahgister

You seem to be saying there exists a sort of Jazz "blueprint" that has been absorbed/integrated into many other genres, worldwide. You also seem to acknowledge that these other genres have, in turn, influenced Jazz.

I cannot describe what is at the core of jazz which is such that all musicians in the world in many different culture had begun to adopt it and used it to improve even their own innate musical language or their traditional instruments...
 
Observe that this is a fact not my opinion or my invention. there is jazz influences in Russia, as in japan or South America or in mid-eastern countries. Everywhere almost... There is jazz using oud for example in a mix which is some mideastern music instrument used in a jazz way...
 

 

But i can gave my explanation...
 
In jazz i felt a specific musical flowing time and timing sense a freedom which is related to the way musicians feel what a good improvisation is and must be and if it is successful one...
 
In other musical culture the importance of the specific instruments timbre and chords traditionally used act as a restraint because the final goal is more linked to specific traditional chosen instruments playing than to the improvisation with many non specifically chosen instruments as such as in jazz ( hammond or tuba or etc)...
 
The rules in traditional musics are more constraining than in jazz concerning the chosen instruments in use and concerning the rules over the improvisation session itself.
For example in India the veena is revered as a gift from Saraswati, his improvisations are heavily codified and the way to play the sound go with rigid rules.Same for the tabla. As it is for the Yoruba talking drums...
 
The way to play instruments are not so heavily codified in jazz... It is why jazz expressions styles had changed so much from so many different names,( bop , hard bop etc of style in 70 years golden age.
 
Jazz spirit is more free more easy to adopt even in the confine of other music traditions.
 
It is why i claimed that Jazz improvisation is universally influential in a way no other world music ever be save european classical written music tradition. this is less my claims than well known  observable facts.
 
Also these two western music styles goes together, jazz and classical, with the same chords language and with some common background. ( negro spirituals, folk music & hymns of the pilgrims for example ) and had more influence all around earth together than any other musical traditional cultures on earth.
( japan music, Indian music and African music, Chinese music , Turkisch music has not that much in common as jazz and classical has)
 
I am not a musician and yes i need frogman here to correct me or to validate in a more professionnal way what i try to convey ...cool

 

@onhwy61: Your Sonny Boy Williamson (no offense intended, but it’s not Williams) quote is missing a few words which are important in making his point. His statement was "The English boys want to play the Blues so bad, and that’s just how they do it." Pretty funny. By the way, as retold in the the Last Waltz film, in 1965 Williamson met and jammed with The Hawks (who of course became The Band in ’68), and he and they discussed going on a U.S.A. tour with them serving as his band. Williamson died later that year, and The Hawks went on the road with Dylan instead.

Hawks drummer Levon Helm had already met Sonny Boy, while still in high school. Helm and Sonny Boy both lived in Helena Arkansas, and Sonny would regularly appear on the local music station’s lunchtime radio show. Helm says he would buy himself a coupla donuts and a Coca Cola, eating his lunch on the floor in a corner of the radio station while watching and listening to Williamson and his band.

 

I loved The Yardbirds (they quickly became my favorite of the mid-60’s British bands with the release of their debut album), from whom I first heard songs like "I’m A Man" and "Train Kept A-Rollin" ( a cover of the scorching hot 1956 Rockabilly version by The Johnny Burnette Trio. Jeff Beck was a huge fan of the Burnette Band’s guitarist Paul Burlinson). The 1951 original was a Blues by Tiny Bradshaw. As I said in one Audiogon thread (maybe this one), in the South (like Elvis, Burnette lived in Memphis) musicians integrate their music.

 

@onhwy61: You were mocking Blues Hammer, right? That’s certainly what the Ghost World movie is doing.

Speaking of which, for those wanting to hear Blues music butchered, check out Canned Heat’s performance at Woodstock. About as bad as I’ve heard the music performed. Even worse than Blues Traveler. wink

 

My peers and I had our musical lives seriously impacted with the hearing of the debut by The Paul Butterfield Blues Band. Playing drums and bass in the band at that time were veterans of Howlin’ Wolf’s band. Now THAT’S a Blues band! Mike Bloomfield on lead guitar, of course. That’s where Dylan heard his playing, and hired him for recordings.

 

In 1969 The Charles Ford Blues band (whose members included guitarist Robben Ford and his two brothers on drums and harmonica. The band’s name was a tribute to their father) relocated from Ukiah California to my hometown of San Jose. As you can imagine, that sent shock waves through the local music community. Every guitarist I new went to as many of their shows at possible, to see the Blues played by the then 18 year old Robben Ford, already a superb guitarist. The bassist in my senior year high school band played bass with them for a while, until Robben left for Los Angeles. Near the corner of Sunnyvale-Saratoga Road and Stevens Creek Blvd---the heart of the San Jose suburb Cupertino, there was a rental house where a bunch of local musicians lived. It was referred to as The Blues House.

 

@bdp24 

Speaking of Mike Bloomfield (one of my first guitar heros in my early teens), below is a link to a fascinating story that he wrote himself (with illustrations by R. Crumb!) about his experiences with Big Joe Williams in Chicago. It's a great read.

https://sundayblues.org/wp-content/uploads/2021/10/Me-and-Big-Joe-Article.pdf

@ezwind

Is that the one with Bloomers being woken up by Joe the morning after a night of heavy drinking with a plate of fried "snoots" ?