They did via other means which is why I said elsewhere that while I agree with AFKAP bringing it up I do think he tends to overstate it. We can't universally say that percussive playing in jazz comes from afro cuban influences. We can say the percussive playing of afro cuban music had a later influence on jazz. And to be fair it's not that he overstates it but here, he's had to defend it so hard it ends up coming off as an overstatement because folk want to deny the latter version because they only hear it as the former.

>Since he recently died, I'd argue that Horace Silver was
>definitley pointing towards chords used more as a percussive
>sound-thing as opposed to a neccessarily functional harmonic
>tool even if he was still very much rooted in that tradition.
>
>However, my favorite Cecil Taylor DEFINITELY started to use
>complex chords more as a sound/percussion-device than a
>harmonic sophisticated thing in the 60's;

Great call on both of those.

>And what about the voici9ng in fourths-rather than thirds-in
>piano-playing during the so-called modal era? Wasn't the main
>idea that they could play vague, ambiguous progressions
>without getting in the way of the soloist freedom while still
>feeding material and being in key? Again, since the harmony
>was frequently static for long amounts of time, the chords
>were frequently amore about rhythm/sound within the mode than
>to provide a strictly defined harmonic background for the
>soloist that he was forced to meet as a "deadline", actually,
>i think that was a core idea behind modern jazz in that
>era...

It's funny I was having a discussion of this thread with another jazz head offline and he brought up the relationship between modal jazz and the extension of the vamp. I really want to write something on vamp extension because man alive... as it relates here and with modal jazz as you're saying is that it allows the space for alternate harmonic relations to be explored.

>Anyway, I don't want to sound like an asshole becauswe you are
>great but it seems like you are arguing for the sake of
>arguing here;

That's my fucking MO Jakob. LOL!!

>from chord-voicings to
>riffs to solos to even tiny fragments like the So What-Cold
>Sweat thing which was always obvious as fuck to me; not
>because they have the same groove-which they don't-

This whole line of discussion started though because I LOL'd at the groove notion. That's the

>context man!!!

I wasn't trying to even go there but I'm actually glad it did because we were able to pull some great discussion from it, even if you did call me an asshole!


█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."