4.2.06
Esta semana, no Jazz on 3, David S. Ware Quartet em concerto gravado ao vivo em Nova Iorque, a 31 de Março de 1999, ano em que actuou em Lisboa, no Centro Cultural de Belém. David Spencer Ware, saxofone tenor; Matthew Shipp, piano; William Parker, contrabaixo; e Guillermo E. Brown, bateria. Quatro temas: Sentient Compassion (8'31), Autumn Leaves (7'57), Yesterdays (12'15) e Gospelized (8'30). Dois standards e dois originais do saxofonista.
«As far as what I try to do with a standard, it's part of the same work that goes on with all the material - it's a search for an original modality, a way of thinking about the structure of harmony which asks whether there isn't some new side to sound, some new relationship between tones which working from a specific musical form can reveal. Think about what Coltrane did with My Favorite Things - no one had ever played that song in quite that way, and that's because he played it in a new modality. We are always on a method quest, a search for free flow method and that's what I try to do with all my music, not just the standards.
As for why I pick some older tunes, well, there's a level on which they just appeal to me as melodies, and on another level they're suggestive of intervals or motifs which seem to me to flow well within that tune, from which I can build something even more freely flowing - something the tune has always suggested without ever having been made explicit, and which comes forth once its motif has been freed of the original structure». [David S. Ware, Perfect Sound Forever]
posted by eduardo chagas
@ 4.2.06 «As far as what I try to do with a standard, it's part of the same work that goes on with all the material - it's a search for an original modality, a way of thinking about the structure of harmony which asks whether there isn't some new side to sound, some new relationship between tones which working from a specific musical form can reveal. Think about what Coltrane did with My Favorite Things - no one had ever played that song in quite that way, and that's because he played it in a new modality. We are always on a method quest, a search for free flow method and that's what I try to do with all my music, not just the standards.
As for why I pick some older tunes, well, there's a level on which they just appeal to me as melodies, and on another level they're suggestive of intervals or motifs which seem to me to flow well within that tune, from which I can build something even more freely flowing - something the tune has always suggested without ever having been made explicit, and which comes forth once its motif has been freed of the original structure». [David S. Ware, Perfect Sound Forever]
