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  • Stevo
    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
    Message 1 of 1 , Sep 4 2:02 PM
      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
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