Unintentionally Amusing Reviews

[CraigP]

It's admittedly a challenge to try to describe sound to someone who hasn't heard what you're hearing, but I still get a giggle when I read certain record reviews. Recently I came across a couple on the All About Jazz site that caught my attention.

First up, from Raul d'Gama Rose's review of Revolutions, a large ensemble recording by Jim Beard:

"Beard is first and foremost a composer of the highest artistic skill. His approach to music is primarily through the classic elements of song. This gives every composition a form. He must then shape the form by twisting the melody and imbuing it with challenging harmonies so that it can take on a shape and life of its own."

OK, I'm not a musician, but isn't that what most composers do (at least those working within any kind of traditional Western framework)?

Later, in the same review:

"Beard's music here is down to earth and echoes with the memory of events that may have been memorable at one time."

Ahh, Memories...(cue the Cats soundtrack)

Then we have Glen Astarita's review of Live by Marteau Rouge with Evan Parker:

"The foursome generates a sense of urgency amid intriguing dialogues and streaming treatments, and strikes an asymmetrical balance, awash with lucid imagery, that spans catastrophic events and hardcore noise-shaping motifs."

Ummm...what? (Did Steve Reynolds write this under a pen name?)

Does anyone else ever react in a similar fashion, or do I just need more coffee?

[Uli]

I found this quite amusing. In essence a pan but concluding that the author can see the attraction to a certain segment of the jazz listening audience.
The idots, I guess.

Steve Lehman Octet - Travail, Transformations, and Flow (Pi Recordings)

Speaking of things not up my alley that nonetheless find their way here. Lehman's an altoist who has taken his studies of Spectralist composers like Grisey and Murail and transported them into the jazz realm. I'm only marginally familiar with a few spectralists of note (Grisey and, to the extent they fit the definition, Dumitrescu, Barlow and Saariaho) but I don't think that's the first influence that would have come to mind. More, especially in the opener, "Echoes", of Anthony Davis with Episteme, a hint of Bobby Previte's groups and, generally, those of Henry Threadgill. The latter casts the broadest shadow both with regard to Lehman's tone on alto and the muscular knottiness of the band (which includes a tuba). That said, the arrangements lack Threadgill's melodicism and funk and strike me as more fussy than anything else; at worst it recalls late Zappa. The insistence on soloing, even if the backing is relatively complex, seems retrograde even in this context and tends to halt any flow or real pulse. Of the other musicians, drummer Tyshawn Sorey stuck out to me as the most consistently inventive. Not my cuppa by any means but I can see its attraction to a certain segment of the jazz listening audience

[CraigP]

Uli, where did you find that review? I like some of Lehman's past output.

[Uli]

Since I think the amusement is really unintentional, I can't reveal the source.

[Tom Storer]

I believe All About Jazz reviewers are unpaid volunteers (that was the case years ago when I did a couple for them). They're probably copy-edited but I don't know if it goes much beyond that. Some of the reviewers are good, but many are enthusiastic but very amateurish writers. That bit above about "the memory of events that may have been memorable" is an example. This person's English teachers failed at their task.

In the review Uli quotes, I am struck by the ideological rigidity of "The insistence on soloing, even if the backing is relatively complex, seems retrograde." I mean really, can you believe they play solos? How passé.

[Jon Abbey]

anyone paying attention to Uli's ten years of obsessive cyberstalking wouldn't be surprised to realize that review is from Brian O's blog.

[Vince Kargatis]

Originally Posted by Uli

I found this quite amusing. In essence a pan but concluding that the author can see the attraction to a certain segment of the jazz listening audience.

I believe you find this amusing, Uli, but can't tell why. I welcome reviewers who recognize the dominance of their own aesthestic in creating their reaction, that it's not universal, and that others would feel differently. Most reviews (and, obliquely, your own sacastic "idiots" remark) pretend that the comments indicate something about the aesthetic character of the music, rather than the reviewer. What would you prefer a pan of a Lehman record to look like?

[CraigP]

Brian O has a blog? I'd like to check that out; if anyone has the link please post it. Moving a little away from the original post, I'll try to get a discussion going about Steve Lehman's music in another thread. I think he's got an approach that's interesting and warrants further development, but some of what I've heard has an unfinished, "work in progress" feel to it.

[Uli]

Originally Posted by Vince Kargatis

I believe you find this amusing, Uli, but can't tell why. I welcome reviewers who recognize the dominance of their own aesthestic in creating their reaction, that it's not universal, and that others would feel differently. Most reviews (and, obliquely, your own sacastic "idiots" remark) pretend that the comments indicate something about the aesthetic character of the music, rather than the reviewer. What would you prefer a pan of a Lehman record to look like?

I am a bit befuzzled by your commment. My idiot remark is not sarcastic. Who do you think the author has in mind? Those who like late Zappa or fussy arrangements which are described as similar to Threadgill's but less melodic, or solos against a complex background? Those who don't like real pulse or funk? Who are they? What segment of the jazz listening audience do they represent?

[Tom Storer]

Originally Posted by Jon Abbey

anyone paying attention to Uli's ten years of obsessive cyberstalking wouldn't be surprised to realize that review is from Brian O's blog.

Oh. In that case, I amend my comment to read: In the review Uli quotes, even though Brian wrote it, I am struck by the ideological rigidity of "The insistence on soloing, even if the backing is relatively complex, seems retrograde." I mean really, can you believe they play solos? How passé.

But since I know Brian isn't *really* ideologically rigid, I have to conclude that sometimes he sounds that way anyhow.

[Uli]

Originally Posted by Jon Abbey

anyone paying attention to Uli's ten years of obsessive cyberstalking wouldn't be surprised to realize that review is from Brian O's blog.

Can you ever say something of substance? Who do you think he has in mind?
I am interested in music, including how music is received. It's only natural that I check Olewnick's blog from time to time. To the extent I can tell, he is a real authority on the music you like so much.

Why are you on this thread?

[Vince Kargatis]

Originally Posted by Uli

My idiot remark is not sarcastic. Who do you think the author has in mind?

The author has in mind those who have different tastes/aesthetics than he does. Having a different aesthetic judgment does not make one an idiot, or stupid, or whatever. And there's nothing at all in Brian's text that indicates that he thinks otherwise. That you presume that he thinks lesser of those of different tastes (e.g. "they're idiots") implies that you find it inconsistent for someone to allow for different reactions to the same music. Which is nonsense of course.

Those who like late Zappa or fussy arrangements which are described as similar to Threadgill's but less melodic, or solos against a complex background?

Do you somehow feel someone may not hold those reactions? Is it impossible to feel that way but still recognize those judgments stem from one's aesthetics, and that different aesthetics will provide different judgments? Of course it's possible, and in fact applies to all honest judgments. Not only does Brian's review style support that interpretation, he more than most writers admirably makes a point of acknowledging it.

[baksheesh]

Originally Posted by Tom Storer

Oh. In that case, I amend my comment to read: In the review Uli quotes, even though Brian wrote it, I am struck by the ideological rigidity of "The insistence on soloing, even if the backing is relatively complex, seems retrograde." I mean really, can you believe they play solos? How passé.

But since I know Brian isn't *really* ideologically rigid, I have to conclude that sometimes he sounds that way anyhow.

It's fascinating to me how what people read into what you say or write can often be diammetrically opposed to what you originally intended to say. In this case the quoted sentence could be interpreted as saying that the music could stand alone as ensemble playing, and that therefore a solo seems redundant.
OTOH, there are numerous examples of big band/ensemble playing where exactly that happens. I don't think anyone could call Alms/Tiergarten retrograde, and yet you have plenty of individual solos going on whilst intricate, multilayered stuff is going on in 'the background' that absolutely demands your attention. I'm reminded of Zawinul's legendary quote 'everybody solos and nobody solos'.
Anyway, to recap, i can see what Brian was saying, and it's a valid point (although highly debatable). It is easy OTOH to see how Tom interpreted it as he did.

[Tom Storer]

Ah, but he didn't just say it was redundant, he said it was retrograde, in other words moving backwards: too old-fashioned. Hence my shrill accusation of ideological rigidity.

[Jon Abbey]

Originally Posted by Uli

Why are you on this thread?

to add the information that you refused to.

[Uli]

Originally Posted by Vince Kargatis

The author has in mind those who have different tastes/aesthetics than he does. Having a different aesthetic judgment does not make one an idiot, or stupid, or whatever. And there's nothing at all in Brian's text that indicates that he thinks otherwise. .

I start see where you're coming from, Vince. imho, the review hoever does not say much about tastes or aesthetics. To be honest, I don't know much about late Zappa's aesthetics. But I do know a little of Threadgill's music, from that point of view "less melodic" or "lacking real pulse" or fussy arrangements seem more qualitative than aesthetic judgements. to me. I guess what you are saying is it's not even a pan. If that's the case of course, what i found amusing is not, that's for sure.

(And of course knowing Brian, melody and pulse don't seem to be generally high values in the aesthetics of the musicians he likes best.)

[Uli]

Originally Posted by Jon Abbey

to add the information that you refused to.

very inneresting. you could have just given the link

http://olewnick.blogspot.com/

[Uli]

for Craig P. A review of the Lehmann disk from point of departure

Steve Lehman Octet
Travail, Transformation, and Flow
Pi Recordings PI30

There’s an awful lot happening on this exciting new disc from saxophonist/composer Steve Lehman. Ideas from jazz, hip-hop, and contemporary classical music intersect and cross-pollinate in really fruitful ways throughout. It doesn’t sound superficially eclectic; instead everything is fused into a single lively and intelligent voice.

Lehman has studied with composer Tristan Murali, who has developed a musical system he calls spectral music. The system is based on the physics of sound—attack, decay, overtones, and timbre—rather than traditional Western system of tempered harmony.

Lehman’s use of spectral harmony, microtonal intervals based on an instrument’s overtones, creates truly arresting sonorities on “Echoes” and “No Neighborhood Rough Enough.” It’s a bit like Gil Evans, but with far more subtle internal movement and the tight chords have longer hang time, they linger and slowly fade like dissipating fog. The technique is more than a novelty. Lehman uses the spectral music ideas systematically and creatively, pairing the overtones of different instruments for some unique timbres, and places them with a framework for improvising that compels players to think about the sound of their instruments in new ways and challenges traditional harmonic thinking. On “Echoes,” Lehman’s frictionless glide over the mirrored orchestration hits piquant intervals. Repetition of small rhythmic and melodic cells, coupled with a slightly acid, penetrating tone lend his solo an arresting urgency. On “No Neighborhood Rough Enough,” he navigates the intricacies of the composition’s mathematical jungle of rhythms and harmonies so fluently that his solo always an outgrowth of the prevailing ensemble tension.

On pieces that make use of more conventional material, Lehman’s voicings still carry a sensual sheen and he launches themes and counterthemes from different angles and at unexpected moments to keep everything just off balance.

Lehman has used spectral music to rework the harmonic basis for his many of his compositions, but he also has an ear cocked toward contemporary pop music, especially hip hop, for a new rhythmic foundation for them. The beat laid down by drummer Tyshawn Sorey, is informed by funky hip-hop inflections, but is far less regular, more supple and prone to variations in tempo, displaced accents, and conversational interactions. Sorey, in effect, plays Tony Williams to Lehman’s Miles Davis, fully realizing and developing the rhythmic underpinnings that give the music its unique feel.

Jackie McLean’s Blue Note albums with Grachan Moncur III and Bobby Hutcherson are another touchstone for Lehman’s music, especially his use of vibraphonist Chris Dingman. The overtone-rich vibes works beautifully in the spectral pieces, of course, but Dingman, who plays almost continuously throughout the album, defines and opens up the conventional harmony, too. He reinforces the beat sometimes, but at others his displaced accents work with Sorey to generate an ambiguous push-pull against the beat.

The horn section responds sensitively to Lehman’s compositional demands, smoothly handling the jump cuts of his arrangement of GZA/Genius’s “Living in the World Today” as well as the undoubtedly difficult demands of the spectral music charts. Mark Shim is a far more disruptive soloist than Lehman, overflowing and cross cutting against the arrangement of “Alloy.” Trombonist takes a lyrical, subtly sweet solo on that tune as well. The tuba player Jose Davila, like Dingman and Sorey, is almost always in action, adding his voice to the rhythmic underpinnings as well as soloing with a declamatory brio on “As Things Change (I Remain the Same).”

Clearly, Lehman is a musician bursting with ideas and he’s realizing them with consistently engaging and original results.
–Ed Hazell

[Paul B]

I don't understand how any of these Lehmann reviews can be considered "unintentionally amusing." Maybe somebody can clarify...

[Uli]

The one by Ed Hazell is not perceived as unintentionally funny. It is just put on this thread because the creator expressed an interest in the disk.

As to the one of Ollie, I think I made it clear why I found it amusing. According to Vince, I've read it wrong and it's just Ollie going thru the motions. That's funny too, imho.

[CraigP]

Thanks, Uli, for posting the Lehman review. I've been intrigued by Lehman's past work, although I'm not sure he's totally found what he's looking for, but I'll have to check this one out as well.

[Dennis Gonzalez]

Jazz Weekly, Fred Jung's West Coast website, posted this a few weeks ago. I think the reviewer was really trying hard to slam us, but it sounds lame.

Dennis Gonzalez
Renegade Spirits
Furthermore Records
By George W. Harris

Trumpeter Dennis Gonzalez leads a quintet with Tim Green/ts, Aaron Gonzalez/b, Stefan Gonzalez/dr, and Famoudou Don Moye/dr through 70 minutes of brooding, edgy and inconclusive music. The free form music, as on “In The Blink Of A Hat” always feels like it’s about to go somewhere, but just ends up trudging along like the Bataan Death March. “Zarambanda” (sic) sounds like a bad night at the Tikki (sic) Room in Disneyland, while Green’s tenor on the title track imitates a swarm of angry bees. This disc has definite potential as a reflective ornament on my fruit trees to scare away birds.

[jazzfiend]

Killer review, Dennis! Gotta snag me a copy.

[Jesse]

That's the tipping point for me as well, gotta have it now.

[Bill Barton]

Yeah, Bataan Death March, Disneyland and a swarm of angry bees... Sounds like it would be right up my alley.

[Frisco]

Renegade Spirits IS a great recording. In fact, I've been wondering why there hasn't been more buzz on this site about it. Dennis' recordings normally spark a lot of interest here. Hey, can someone find me some of what Fred Jung was smoking?

[Vince Kargatis]

The review is pretty amusing, as it reads like a John-McDonough-era anti-free-jazz screed from decades ago. You'd think by this time that reviewers would be lucid enough to pass, rather than embarrass themselves in print. It's not as if it's likely he would feel differently about other recordings in the genre.

[CraigP]

I immediately thought of McDonough myself when I read the review of Spirits. Why review a genre you hate?