I think audiences are hipper than musicians think they are. They wouldn’t be there if they didn’t want to hear some music, so you don’t have to con them into believing that this music is great.
We are like the stranded particle, the isolated island of the whole, which refuses to expire in the midst of the normal confused plane which must exist—in order that we may, but with which we are constantly at war. We are trying to balance an unbalanced situation that is prevalent in this society.
— Kalaparusha Maurice McIntyre, 1936-2013
William Parker, “Lights of Lake George,” Double Sunrise over Neptune, 2008.
David S. Ware, “Methone,” Saturnian, 2010.
Air, “Air Raid,” Air Raid, 1976.
John Coltrane, “Bakai,” Coltrane, 1957.
What’s most interesting to me about this tune is that it struggles alternately to stay close to then-current jazz conventions and, by including that quarantined polyrhythmic bit, move away from it. The group is characteristically satisfying but this seemingly conflicted effort is what draws me to Bakai. I feel something similar in my own music: I want it to move out from my own tradition (rock, punk, post-etc.) but if I can get it out there, I retreat to something more familiar. Why I do this is, I think, obvious enough. I’m not ready to work without a net.
Ronnie Boykins, “The Will Come, Is Now,” The Will Come, Is Now, 1975.
Anthony Davis, “Man on a Turquoise Cloud (for Edward Kennedy Ellington),” Lady of the Mirrors, 1980.
Masada, “Jachin,” Sanhedrin, 2005.