To the moderator from City magazine urging people to be polite:
I probably would have hated the concert, and did enjoy the reviewer's honest assessment. That being said if he is comfortable publishing such phrases as "It sounded like a gaggle of geese fucking", I'm sure he can take a few harsh/demeaning comments hurled his way!
"There's no way anyone wrote that down": perhaps you should take a listen to this band's record (wherein they play some of the same material) before publishing a review where you are clearly out of your element. These guys are at the top of their game when it comes to both composed and improvised music, and this performance was a shining example of the seamless, chamber-like melding of composition and improvisation of which these musicians are true masters.
I'm friends with Tim Berne on Facebook and he posted your review, Frank. The comments from other jazz musicians are pretty funny. Frank - what were you thinking? Why did they send you to a Tim Berne concert? This is not a Frank DeBlase thing. That's just apples and oranges.
Thanks for telling it like you saw it, Frank,I thought it was just me. Squeek and Honk! I saw Sun Ra three times back when John Gilmore and Marshall Allen were pushing the free jazz envelope, I've heard Ornette and the Art ensemble of Chicago, and still have the vinyl of Ascension. These guys didn't play a consonant phrase in the 15 minutes we could stand. Maybe it would have worked in the middle of the week, but the last night, it left a worse taste in my mouth than the antipasto at Max's. So why did he call the band Snake Oil?
a response to whatever: musicians serve both the unheard sound AND the audience, and as liasons, would be condescending to play down to an audience in not bringing something more to the occasion than what an audience already knows or can already do on its own. Nearly everything has more to offer than what a quick hit can take in, not just music -- and what about mystery? That's a condition of encountering more than you already know. It's a projection to assume that musicians have no thought of the audience in mind. What you're calling "alienating" is just the sting of difference.
Hey douche bag re:snake oil , you probably didn't understand Coltrane either. You loose. Thank God for Tim Berne! Shame this Jazzfest in your eyes has nothing to do with Jazz!
You know what? I agree. I'm a Jazz fan (an uber Jazz fan). Berne's music is alienating. It's music played for other musicians with no thought or empathy of the audience in mind at all. He is popular in musician circles and avant-garde circles, but that's it. It's not meant for mass consumption. So, newspaper critic...you're spot on. You review music for people. Not other musicians. Tim Berne will be what he is for as long as he is...and that is complex music for other musicians, not for an audience. Fans of his can get all up in arms all they want (gasp, the horror! someone didn't like music I like!). But it's not going to change the fact that if you brought 100 random people to one of these shows - 99 would leave after the first song.
Wow, haven't seen a dis of serious music like this in decades. Reminds me of when my mother likened her first hearing of late Coltrane to some kid warming up. Your taste is important, but your evident assumption that generations of musicians are crazy or incompetent needs an imagination & empathy check. Tim Berne is no joker; and if you accept that, your ability to respect other people should prompt some inquiry in to why other people into why they do what they do. You might learn something, as we all do.
Had a blast at Amy Lynn and The Gunshow. Thet put on a really entertaining show. Love the bari slap tongue and Amy's voice.You guys spelled it wrong though.
What a shame that in attempting to deride Tim Berne's music as indicative of modern music's noise cliches, that this reviewer opted to load his review with precious little else beyond tired music journalist cliches.
Or is he simply a post-modern genius, attempting to demonstrate and comment upon his disgust by structuring his review with the nonsensical drivel he seemed to perceive in the music?
More to the point, what a shame that "honest reviews" have so thoroughly equated to "being an asshole"
I wish you could keep your "critics" to the same standards, sir.
You need to get out more Frank. Tim Berne is terrific. Oh you might have to leave some preconceptions at the door but the music is engaging and inspired.
Eric, Scott Colley was his name
Hey folks: feel free to disagree with the critic, but keep it polite. We'll take down any comments that insult him on a personal level. We're glad you love and support the artist in question, but don't hurl demeaning personal comments at our music critic in the process.
re: Snake Oil:
yes! you're not cool. you're clearly both narrow-eared & desperately under-exposed to contemporary music
--- i mean, musical developments since sometime from the early 20th century & forward --- &, hey!
you're rather nasty, to boot:
what a fantastic combination!
have a lovely day.
Excellent review, Paloma -- good show!
Jayvee: That information came from the Jazz Festival itself. It's possible they got it wrong, but...
I don't think it was James Genus.
Actually, as a purchaser of a pass, I don't have to do the free shows, I just have to put up with the line jumpers, texters, and people who talk all the way through the performance at venues like Abilene and the Tent. But I carry a chair for use in the lines, and for SRO areas like the balcony at Harro, and I would definitely not like being told that I could not access some portion of the street because I am carrying my chair for other functions. And chair people or no chairs, when 30,000 plus people show up for a free show, somebody will be in the back. Maybe it should be no standing keep walking so everyone gets 5 minutes up front. It is probably moot for Trombone Shorty, because after a street run like his, I'm predicting that if you want to see him next year, you'll be digging into those tight pants for some Eastman Ticket money next year. But then you'll be able to show up 5 minutes before the show and be entitled to your seat!
Lucky 13 has certainly captured the attitude of a majority of The Chair People at the big shows. - "I got here before you, and I have chair dammit. I brought it here myself, and I think it acts like a ticket to this spot which I feel I now own. I will sit here and take up the space that three people could stand in and I will expect my sightlines to be maintained identically to what they were before the other 15,000 of you showed up" . Who really has the sense of entitlement here?
There are many venues and situations at the Jazz Fest where chilling out in your folding chair from your back yard is appropriate and works out great. A large free concert that draw tens of thousands of people is not one of them. A big "general admission" type crowd like that is not static. It moves. It has ebbs and flows. It shifts. It has circulation, at least it does until you hit the artery clogging mass of The Chair People . The what you have is tension and conflict as the usual conventions of crowd movement and compromise no longer apply. Allowing chairs to be set up in front of the major free stages definitely creates sour notes in what is otherwise a great festival with a great vibe. The majority, who are forced to stand a block away from the stage by the actions of a few, should be considered the aggrieved party here. And given that, it is odd how much anger seems to come from those seated comfortably in their chairs.
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