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>However, I justr think there is just as many, if not far more,
>artists who lose their plot in one way or another once they
>LEARN the craft
Well that's because the go to craft after the run out of ideas. In a perfect world you develop the craft and then come to the ideas. Or have the ideas in your mind and work on the craft to execute them. But more often than not these days people get bites off the ideas without the craft and then are stuck wondering what they do with themselves. I blame consumers for eating it up.
>that your examples of Jimi and Trane becomes
>more exceptions than anything else.
Models. Whole different tangent, but its going understated how much they paid dues before stepping into their own light. They both played the circuit doing other peoples ideas for years, refining their craft before stepping into their own. Which ties it into (i think this is the post we're in lol) the notion of mentoring. Mentors are all about helping to refine the talent so that the ideas come naturally. That's what it means to be a musician. All of the greats (hyperbole alert) every fucking one of them came up under someone that made sure they refined their craft first and then struck out on their own. It's formula that works, and yet it seems to have been completely forgotten.
>And honestly, when it
>comes to Jimi, I suspect he was partially starting to lose it
>in the end and becoming too concerned with craft. I base that
>on songs like Night Bird Flying/which is a jam, make no
>mistake/which were amongst the last things he recorded. It\s
>like the studio and all its enormous possibilites and him
>finally getting a chance to master it and be in full control
>and having the experience to pull it off led to music that to
>me just lacks the brilliant balance of ragged RAWK attitude
>and technical skill that his early stuff had. Actually, I feel
>the same way about most latter Jimi recordings meant as songs.
>I still dig them but its not Manic Depression so to speak...
I know what you speak of and can't do dates right to be counter example songs ("Pali Gap" being the first to jump in mind), but even with them you could be right... temporarily. Allowances have to be made for really talented artists to develop into their next stage. I've said this over and over again. I think it's what Joe Corn is talking about with advanced. I think it's the advanced ideas that need craft refinement to be exeuted properly. Fo established artists it's risk prone because they may make what's considered sub par material if they (have to) release it. But if they are able to make it to the otherside of that without succumbing to audience pressures they may arrive at something truly 'new' and unique, or equally good have a reflection back on where they were that further refines it.
Everyone shitted on (and continues to) when Autechre did the digital thing. Folk were pissed the fuck off. But now over five album since then the importance of their wanking off in the digital is so clear because they were able to refine their craft in it so that now when everyone has gone digital and sounds the same, everything they do stands out as uniquely not the same, uniquely not them, and continuously innovative. That's what pushes shit forward.
I think you're looking at it from the raw gutteral appeal of the firsts (that was above in this post right) which of course are always amazing, but I seriously believe a musicans best work comes decades down the line if they are continuing to refine their craft and haven't been pushed or burnt out by other factors (<<< the unfortunate norm).
Sorry said to much here to go more point for point but this reads like you did hear it but it couldn't have been on spotify.
>I listened to it on Spotify I think *maybe Im thinking about
>something else, drop the name again(, it was interesting but I
>did not find the electronic aspect substantial and I suspect
>that very aspect is what give them recognition in the first
>place...
here's the link to be sure - http://concretesoundsystem.com/odon/
It's me on the electronics, but purposefully playing a more understated role so that hopefully you're not saying 'there ARE electronics on this' but 'oh that was electronic?'
It's all free which is why I'd love your feedback. Daniel, who's probably best known for his work with Matthew Shipp is the lead, but there is no head no charts, no nothing. It's my craft refinement space incidentally, which is why the understatedness of my playing.
*** oh i just realized you were probably thinking Melt Yourself Down on spotify. The leader (sorry can't call his name) is the cause for their recognition, though i feel like it maybe a niche supergroup not so much a single leader thing. I dig the electronics on it because it's understated. Probably lose em all together and I'd still dig the project. To me it sounds like if Raymond Scott ever embraced free jazz for his band work.
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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."
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