The importance of developing a compositional body of work can't be stressed enough. I saw that with Jaki and Muhal (both of whom I was fortunate to have worked with) and so many others, in NYC of the 80s-90s. Tracing the player/composer aesthetic all the way back to James Reese Europe solidifies that trajectory. We can only stand on the shoulders of those who came before us, and composing has to go hand in hand with improvising (which, after all, is "spontaneous composition").
Jason Moran is a national treasure. When I was studying with Ron Carter, John Patitucci, and then retired Julliard professor John Shafer, it was their age and connection to the tradition, history, and lineages of the bass as well as their ability to share their knowledge and individuals notions of advancing the music with past, present and future in mind. There really is no greater teacher than tradition and having the vision to find one's voice within that tradition, honoring it while being modernistic and deconstructing it. I certainly can echo many of the sentiments in this exceptional interview.
I had one lesson with Jason, in his home, as a bass player, through a workshop at my alma mater City College Of New York. We spent the entire time deconstructing playing the bass, walking, and soloing from the influence of his band and the great bassist Taurus Mateen, who he has played with for a long time. We played Monk the entire time, spending considerable time on the Monk tune, Evidence, deconstructing the language from "old school" to "New school" or freer approaches. It was a similar lesson to how Ron Carter taught me but also different, opening up new lanes to spontaneously compose walking lines throughout the tradition. Build a foundation, build more and more over it, exhausting all possibilities within the music and what contemporary life can bring.
Jason is an extraordinary human, and his catalog at Blue Note, while old, still feels so fresh and timeless. That, and his vision, are deeply inspirational.
Wow! Only moments ago, preparing a paper for a music class, I was referencing Jason Moran (who also transcribed a turkish woman talking on the phone to piano!) What a giant:AACM & Jaki Byard too!
I LOVE THIS NEW DEVELOPMENT!!! Maybe he will offer you his Tyshawn Sorey piece that was scrapped by JazzTimes as their cover story when that maniac took things over.
there's a great album with Archie Shepp - "Let My People Go" where Jason plays with Archie as a duet. I am curious why didn't even mentioned his collaboration with Archie, anyway give it it a listen.
I've heard about Jason Moran and after reading the interview went to Youtube and listened to 3 performances. At the end I felt that the proof wasn't in the pudding. After Moran's version of Little Rootie Tootie, I went back and listened to Monk's recording at Town Hall. By comparison, there was no sparkle in Moran's recording. I had to close my eyes and force myself to concentrate on his solo piano pieces, and at the end, thought; I don't need to listen to any more. I have no argument with his history lessons. Like Dizzy said, when asked about Louis Armstrong; "No him, no me."
The importance of developing a compositional body of work can't be stressed enough. I saw that with Jaki and Muhal (both of whom I was fortunate to have worked with) and so many others, in NYC of the 80s-90s. Tracing the player/composer aesthetic all the way back to James Reese Europe solidifies that trajectory. We can only stand on the shoulders of those who came before us, and composing has to go hand in hand with improvising (which, after all, is "spontaneous composition").
Looking forward to checking out Jason's latest.
Jason Moran is a national treasure. When I was studying with Ron Carter, John Patitucci, and then retired Julliard professor John Shafer, it was their age and connection to the tradition, history, and lineages of the bass as well as their ability to share their knowledge and individuals notions of advancing the music with past, present and future in mind. There really is no greater teacher than tradition and having the vision to find one's voice within that tradition, honoring it while being modernistic and deconstructing it. I certainly can echo many of the sentiments in this exceptional interview.
I had one lesson with Jason, in his home, as a bass player, through a workshop at my alma mater City College Of New York. We spent the entire time deconstructing playing the bass, walking, and soloing from the influence of his band and the great bassist Taurus Mateen, who he has played with for a long time. We played Monk the entire time, spending considerable time on the Monk tune, Evidence, deconstructing the language from "old school" to "New school" or freer approaches. It was a similar lesson to how Ron Carter taught me but also different, opening up new lanes to spontaneously compose walking lines throughout the tradition. Build a foundation, build more and more over it, exhausting all possibilities within the music and what contemporary life can bring.
Jason is an extraordinary human, and his catalog at Blue Note, while old, still feels so fresh and timeless. That, and his vision, are deeply inspirational.
Thank you Mr. Gioia and Mr. Panken. Bravo.
Thank you Ted, Jason for the conversation and Ted for the semination.
Wow! Only moments ago, preparing a paper for a music class, I was referencing Jason Moran (who also transcribed a turkish woman talking on the phone to piano!) What a giant:AACM & Jaki Byard too!
Ted Panken is a wonderful addition to the Honest Broker. What a skillful interview!
I LOVE THIS NEW DEVELOPMENT!!! Maybe he will offer you his Tyshawn Sorey piece that was scrapped by JazzTimes as their cover story when that maniac took things over.
there's a great album with Archie Shepp - "Let My People Go" where Jason plays with Archie as a duet. I am curious why didn't even mentioned his collaboration with Archie, anyway give it it a listen.
I've heard about Jason Moran and after reading the interview went to Youtube and listened to 3 performances. At the end I felt that the proof wasn't in the pudding. After Moran's version of Little Rootie Tootie, I went back and listened to Monk's recording at Town Hall. By comparison, there was no sparkle in Moran's recording. I had to close my eyes and force myself to concentrate on his solo piano pieces, and at the end, thought; I don't need to listen to any more. I have no argument with his history lessons. Like Dizzy said, when asked about Louis Armstrong; "No him, no me."
Very interesting piece. I wonder what Europe's own historical view was to 19th century music and to piano/sheet music driven playing.
Awesome
The last 3 paragraphs of this are straightforward truth; and thus golden.
Jason had me at the calliope.
As heavy as heavy gets. This man understands (I’m rereading Stranger in a Strange Land -- he fully GROKS!) Inspiring me to get to work. Thanks!
More of these pieces, please.