hi, last weekend I saw a great show with Feldman/DeJoode/Vatcher, playing mostly free. Really intense with excellent communication between them. I had the feeling that a lot of the passages and phrases of Feldman were reminiscent of his Masada string trio contributions. I really had the feeling at some points that he was playing knwn phrases! So, I would like to raise a question and maybe people who have seen him more times and in different groupings might have a better insight: Has he been a big influence on the Masada pieces, marking them with his own style, or is it that the Masada string trio has influenced him so much that even in a relatively free setting he sounds close to it? manolis
Hello Emmanouil, I think the reason is neither influences on Masada, nor influences from Masada, but the fact that Zorn is always trying to arrange his music for the particular musicians in mind. Moreover, sometimes he even composes works for the certain players. Friday, September 13, 2002, you wrote to me: EP> hi, EP> last weekend I saw a great show with Feldman/DeJoode/Vatcher, playing EP> mostly free. Really intense with excellent communication between them. EP> I had the feeling that a lot of the passages and phrases of Feldman EP> were reminiscent of his Masada string trio contributions. I really had EP> the feeling at some points that he was playing knwn phrases! EP> So, I would like to raise a question and maybe people who have seen EP> him more times and in different groupings might have a better insight: EP> Has he been a big influence on the Masada pieces, marking them with his own EP> style, or is it that the Masada string trio has influenced him so much EP> that even in a relatively free setting he sounds close to it? -- Best regards, Peter Gannushkin e-mail: shkin@shkin.com URL: http://www.downtownmusic.net/
I think the reason is neither influences on Masada, nor influences from Masada, but the fact that Zorn is always trying to arrange his music for the particular musicians in mind. Moreover, sometimes he even composes works for the certain players.
...as well as the fact that Mark (as well as most players), although 'improvising', definitely has his favourite licks which could come out no matter what project he's playing with. For example, there's a line he does which I have heard him do with Masada, Dave Douglas' Charms, Uri Caine's Mahler, Bobby Previte's The Horse, just to name a few...
on 9/13/02 1:15 AM, Emmanouil Papagiannakis at papagian@nat.vu.nl wrote:
Has he been a big influence on the Masada pieces, marking them with his own style, or is it that the Masada string trio has influenced him so much that even in a relatively free setting he sounds close to it?
Mark is a brilliant player, and yes he does have some stuff he uses a lot (so did Coltrane). My fav Feldman is his solo on "The Little Boy With The Sad Eyes" on A THOUSAND EVENINGS. The way he just takes the straight-aheadness of it and turns it into some kind of liscence to really run off the leash. One of my fav solos in yrs. Plus his playing on the last Abercrombie album was a big fav around here. skip h http://www.skipheller.com
participants (4)
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Emmanouil Papagiannakis -
Julian -
Peter Gannushkin -
skip Heller