If you don't know about this Monk you don't deserve the life you're wasting. Dig:
primordial global pattern as fact of Monk's way, playing is irrational, is on the synthetic brain, right of the consequence, synthetic mostly cognitive, a matter of style, intuitive global and his. his stresses is simultaneously maximizing dissonance. the "wrong" use of the left hand, phrases unresolved moments of elation characterized by notes, harmonically off definitions by a half tone so that the tension left, increased and then shakes the keyboard with upsetting primitivism.
flat fingers. instead of structure interpret them again, the swing and pauses emphasized by deficiency strictly connected to the origin.
He often plays two adjacent delays, a sort of childlike quality. keys on the piano strikesothers' compositionsm displacing the tunes with powerful elbows. When he plays, he, then, changing accents and using advances, bowing them in particular originality, chants rather free. He the keys and the meaning that very often seems to be his tunes sound like play while they are children's and do not indicate reiterative musical style at modernism. These, in his mirror of his, have the same musical "it". they is he.
"You never know what may happen, in the rhythm for instance, Monk manages to create such a tension, to compel his musicians to "think" rather than follow the usual clichés. He can start a phrase from a sequence you do not expect and you have to know exactly what to do. And harmonically he follows different routes from what you have in mind. But one thing I have learnt from Monk, not to fear what you really feel." -John Coltrane
Goodnite.
primordial global pattern as fact of Monk's way, playing is irrational, is on the synthetic brain, right of the consequence, synthetic mostly cognitive, a matter of style, intuitive global and his. his stresses is simultaneously maximizing dissonance. the "wrong" use of the left hand, phrases unresolved moments of elation characterized by notes, harmonically off definitions by a half tone so that the tension left, increased and then shakes the keyboard with upsetting primitivism.
flat fingers. instead of structure interpret them again, the swing and pauses emphasized by deficiency strictly connected to the origin.
He often plays two adjacent delays, a sort of childlike quality. keys on the piano strikesothers' compositionsm displacing the tunes with powerful elbows. When he plays, he, then, changing accents and using advances, bowing them in particular originality, chants rather free. He the keys and the meaning that very often seems to be his tunes sound like play while they are children's and do not indicate reiterative musical style at modernism. These, in his mirror of his, have the same musical "it". they is he.
"You never know what may happen, in the rhythm for instance, Monk manages to create such a tension, to compel his musicians to "think" rather than follow the usual clichés. He can start a phrase from a sequence you do not expect and you have to know exactly what to do. And harmonically he follows different routes from what you have in mind. But one thing I have learnt from Monk, not to fear what you really feel." -John Coltrane
Goodnite.
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