[JPL] Wave Mechanics Union - Second Season

[Bradley M. Stone]

Aloha Jae,

Thanks for your scholarly "drummer's perspective" on this.  I had a
hunch that the complex time signatures and changes might be the reason
that it would be difficult to impart swing feeling on this piece.  I
think in general that progressive rock has the same sort of appeal, in
terms of sophisticated harmonic structure, as does jazz - however the
rhythmic aspects can be quite different - although odd meters are not
uncommon in jazz, these don't naturally or necessarily invoke swing
feel.  I did like the horn charts on the Wave Mechanics Union version of
"Heart of the Sunrise" very much indeed.

By the way, I'd just like to remind everyone that while Jaco was paving
the way for the bass to be a lead instrument in jazz and jazz-rock
fusion, Chris Squire of Yes was doing a similar thing with the bass as a
lead instrument in Yes, at about the same time (or even earlier) - a
fact that seems to be little recognized.

Always a pleasure, Jae.  The light is on.

Brad



Dr. Brad Stone
Music Director (Jazz, Blues World)
Faculty Advisor
KSJS 90.5 FM
1 Washington Square
San Jose State University
San Jose, CA   95192-0094
 
Home Office:
9381 Durango Lane
Gilroy, CA   95020
bstone at science.sjsu.edu
(408) 848-6266


-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com] On Behalf Of Jae Sinnett
Sent: Monday, December 01, 2008 6:55 PM
To: jazzproglist at jazzweek.com
Subject: RE: [JPL] Wave Mechanics Union - Second Season

Brad...your thoughts on "Heart Of the Sunrise" are interesting. I too
thought the same thing BUT...I have first hand experience with that song
and can tell you it's potentially an arranging nightmare. 

Back in the 70's when I had big hair I played in a prog rock group for
several months. We played "Heart Of the Sunrise." It's strange because
listening to the song makes so much sense but trying to play it is
another story. Its quirky meter shifts and multiple feel variations make
it an unlikely candidate for swing. I take my hat off to the arranger
here for coming up with something that worked with fluid continuity and
logical harmonic structure and movement. I also like the fact that the
drummer played Bill Bruford's parts to the tee when he should have.
Everything about Bruford's playing was so astonishingly original that to
change it around would take away from the rhythmic concept of the
composition in my view.

Peace my friend, 
Jae