I’m intrigued by the number of casual conversations lately that have touched on the theme of embracing constraints as a gateway to creative solutions. Are artists as constraint infected as their tech world brethren? There seems to be an awareness that unrestricted composition is a daunting task and that introducing constraints can get you to the downbeat.
Instead, someone says, “Write me a piece of music using only a flute, saw, and this broken toy piano. You can only use the notes D, E, and B – but never all 3 at the same time. It has to be in 3/4 time, start quiet, get loud, then get quiet by the end. Go!â€
Aha! Now you’re cookin’!
[From Restrictions will set you free | Derek Sivers]
Recently, I’m hearing folks talk about their timed dashes. Duff says Nokahuna was a 48 hour burst effort and Nathaniel is crafting his weekly schedule to create artificial calendar constraints.
There, I did it. A blog post constrained to three paragraphs, a quote plus six links that associate 37signals with a broken toy piano. How’s that for a creative solution?
For the past few months, I have not been feeling eMusic. If you’ve only dealt with iTunes, then eMusic seems like a breath of fresh air. The pay-per-tune model is replaced with a monthly subscription that includes a fixed number of downloads. Once you reach the plan limit, you’re cut off and have to wait for next month. I had a 90 track per month plan for $15, so that’s a lot cheaper than iTunes at 99 cents.
Unfortunately, wading through junk recordings to find something fresh gets harder every month of the plan. I was in for the jazz and classical recordings primarily, but the eMusic offerings just don’t include the small labels who are publishing really good, modern stuff.
Lots of good jazz is archive and if you’re interested in early, classic recordings then eMusic can help fill the holes in your collection. Outside of that, eMusic won’t help you much.
So, goodbye eMusic. It was a great start, but you’re history; just like most of the jazz recordings in your library.
Update (1/30/2009): I’m back and so far have been finding some really great stuff. Thanks eMusic, for not reading this post and punishing me for it!
First jazz gem discovery of 2008. This album from Alan Pasqua has throwback fusion undercurrents spiced with enough modern freshness to make it extremely interesting.
The album opens with a slightly restrained title track, but quickly gets edgy on “George Russell”.
“Prayer” begins as a quiet rhapsody for piano and morphs into a meaty set of funky tunes.
Pasqua likes a growling, electric Fender Rhodes sound over lots of laid back grooving.
Much of The Antisocial Club has a hard, driving ensemble feel that you’ll love if you’re into modern quintets. Trumpet and sax are out front, frequently doubled, with twisty, harmonic melodies. Tasteful use of electronica in solos and breaks is a really nice contrast to the rhythmic beats.
The album closes with “Message to Beloved Souls Departed”, a reflective, muted ostinato with simple, rich harmonies; possibly for Michael Brecker who passed away last year.
Henry Butler played last night in the Nelson Music room at Duke University. The solo Jazz piano concert was part of the Following Monk series, celebrating Thelonious Monk’s 90th birthday on October 10th. Monk was born in Rocky Mount, though didn’t stay long. He was known for the sparse voicings in his left hand.
Mr. Butler started the show with a couple of Monk evoking tunes, but in homage to Monk’s short stay in Rocky Mount, Butler soon left Tribute Town and began a heavy handed program more in the villages of McCoy Tyner and Oscar Peterson. In honor of the style, I’ve created a Big Handed, Old School, Jazz Pianists Who Stomp Their Left Feets station on Pandora.
The show was great and warmly received, but 90 minutes was enough for me. Great Jazz doesn’t always require foot tapping to 4/4 time.
