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I have a couple of Dave's earlier albums (soul to soul is one of the best I have heard in a long while), but I find Witness just a bit difficult. I have a fairly wide musical; taste Zappa Waits Coltrane Hubbard and can get into anything they produce. However I find Witness as I said before "difficult". Can anybody tell me how their system handles ther looong track with the Tom Waits narration, can you easily make out what he says, as I really have to strain to follow the lyrics.
Cheers
its a tangled web we weave, when we practice to deceive
Wull
I've got The Infinite and Soul on Soul and like both of them. What DD album should I get next? Witness seems to be appropriate for when I will know DD better.Thanks!
Nemo
You and I are on the same page with Douglas's music. I agree "Witness" can be a difficult album. Last week I had the very great pleasure of catching Douglas live at the Village Vanguard for two sets (thanks for keeping me out so late, Bob!), and hearing him live has completely changed my perspective on his playing. Prior to last week, I had three DD CDs - "Witness", "Soul on Soul", and "A Thousand Evenings". The only one that I would listen to repeatedly, the only one that seemed accessible, that seemed "jazzy" for me was "Soul on Soul". Hearing him live has allowed me to 'visualize' his playing as I listen to the CDs now. I recognize some of his techniques and his style, and the musical picture becomes a bit clearer, makes a bit more sense. His new release, "The Infinite" has become my favorite of his, and I think it has to do with the interplay between Douglas and Chris Potter on sax, who continues to become one of my favorite sax players around. They augment and compliment each other's playing so well in concert, in dialogue, in unison, or when comping each other's solos. Hearing Douglas live also confirmed what a fine tehnician he is on the trumpet. He had some wonderful solos, and I particularly paid attention to his nuance and colloration of notes, which I appreciated (thanks to you, too, Serge).
"The Infinite' is, so far, my favorite - perhaps also because the concert focused mainly on that material, image-burning it into my consciousness. "Soul on Soul" is another great CD, and since hearing them, I've gotten an insight which helps me appreciate "Witness", too.
I've been spinning 'The Infinite' an awful lot lately - a beautiful release. A tip of the hat to Serge - his review of his performance in Boston made our choice of sets that nice the correct one. Like you, I can't get too much of Potter & the combo of Penn & Genus really rounds out this group. Penn's subtle, shifting rhythms was an eye-opener. Like you, I can do without the electric piano, although I find it less instrusive on the CD than live. Keep you eyes open - I'll be up in another week or two!
Hi Mike,You definately have the advantage with the live perspective,
I wouldnt say I dont like witness, I am prepared to give it quite a few more listnes. Maybe if DD ever comes to South Africa to get insparation for another such project he will play some gigs and wow that would be great.
Cheers
Wull
Another South African jazz fan? What is there, an epidemic of jazz down there? At this rate you'll have more than NYC soon.Mike
I have been listening to Dave Douglas since about 1994. He is a great player and some of his best stuff is on Arabesque. Leap of Faith and Moving Portraits are probably more to you liking than some of his other stuff. Infinite is his best CD yet.
I disagree, GEO. It seems to me we've agreed in the past, at least once or twice.Mike
First time in a while :) The Infinite is a great record and you should look for the Arabesque dates. They are all good. Also, on another note, Scott Wendholdt's Beyond Thursday with David Berkman on Electric Piano is also brilliant. It made me not mind electric piano. I used to hate that instrument but this new generation of guys understand how to use it now. I can be very good.
You reminded me... the one drawback to Dave Douglas's new quintet was Uri Caine on the Rhodes. No doubt a talented player, but that instrument just obfuscates any sense of tone or touch. Technique is all but indecipherable. I hate them. As teriffic as I thought Douglas's quintet performed (The rhythm section of Clarence Penn and James Genus were killin', btw!), I found the electric keyboard to be intrusive. I continually thought he was quoting Deodato's "Thus Spake Zarathustra"!! It had the same monotonic plinky sound to his solos. I hate to knock Caine, he seems like a nice player, and by the second set, I guess I became acclimated or enured to the sound, but I like my keyboards acoustic.BTW, don't worry... you offset our agreement here with your comments about Brecker above. We're back to normal again.
Have a good weekend,
Mike
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