s over c
- the other source of that spontaneity over complexity thing was this
-bill evans liner notes for kind of blue =- i coupled that with Irmin
Schmidt's take on the spontaneous aspect of group improvisation
and hanging back -becoming more reactive than active -with the thing
by Eddie Prevost
"There is a Japanese visual art in which the artist is forced to be
spontaneous. He must paint on a thin stretched parchment with a
special brush and black water paint in such a way that an unnatural
or interrupted stroke will destroy the line or break through the
parchment. Erasures or changes are impossible. These artists must
practice a particular discipline, that of allowing the idea to
express itself in communication with their hands in such a direct way
that deliberation cannot interfere.
The resulting pictures lack the complex composition and textures of
ordinary painting, but it is said that those who see well find
something captured that escapes explanation.
This conviction that direct deed is the most meaningful reflections,
I believe, has prompted the evolution of the extremely severe and
unique disciplines of the jazz or improvising musician.
Group improvisation is a further challenge. Aside from the weighty
technical problem of collective coherent thinking, there is the very
human, even social need for sympathy from all members to bend for the
common result. This most difficult problem, I think, is beautifully
met and solved on this recording.
As the painter needs his framework of parchment, the improvising
musical group needs its framework in time,. Miles Davis presents here
frameworks which are exquisite in their simplicity and yet contain
all that is necessary to stimulate performance with sure reference to
the primary conception.
Miles conceived these settings only hours before the recording dates
and arrived with sketches which indicated to the group what was to be
played. Therefore, you will hear something close to pure spontaneity
in these performances. The group had never played these pieces prior
to the recordings and I think without exception the first complete
performance of each was a "take."
--- Bill Evans