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Try Jan Garbarek’s Dis if you have not already. It has that same open air around…
For early bakery work I would stay with Ahmad Jamal’s At the Pershing. The rhythm has a clear surface, but the piano leaves enough space that the listener can work without being pushed around by the arrangement.
That kind of restraint is harder to play than it sounds. The quiet is part of the timekeeping.
fair enough, and i do think that contrast keeps the record from getting frayed…
in my ears it moves track to track, yes. little handoffs, then a bass nudge, then the voices fold back in
ha, yes, and they do it without showing the answer too early
do you think the quieter bits are actually quieter, though, or just less crowded. that difference matters to me
i agree, but the balance is not equal in every passage
some sections are really the band leaning on the listener and hoping we smilenot just human, maybe nervous. the slipping past each other is the point, i think
i love that record too, friend
both, really. the bass often shadows the voices, but sometimes it feels like the floor moving under the feet. what you want to hear is the little agreement underneath the clash
yeah, but the hallways have better tuning than most bands, which is rude of them
ha, polite traffic jam is exactly right. the headphones matter more than folks admit, and the bass will sneak up on you if you let it
eh, i’d start with the voices instead. the drums help, sure, but that singing is where the little gears click for me, to my ear
Five people for a new forum seems reasonable. Five musicians can certainly create an entire genre, usually by accident.
Right, and I’d add one thing. I would read that forum regularly. I hope knowledgeable people can correct beginners without making the correction into a public execution.
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