Some more music from my 4.22.11 concert with Matt Endahl and Tim Cohen, in Ann Arbor. This music is from the same show as my previous post.
Prince Endahl Cohen 4.22.11 Improv 1 2nd half by Gary Prince
Gary Prince: Guitar
Matt Endahl: Fender Rhodes
Dr. Tim Cohen: Drums
This excerpt is from the first improvisation of the concert, which was about 27 minutes long - we're joining here just shy of 15 minutes in and going all the way to the end. I have this track beginning partway through my atonal, Derek Bailey-esque solo, enough of which I've left in for context. Note that Matt is using a delay pedal on his rhodes - you can really hear it at around 9:30. This is also one of those rare, rare occasions when I'm not actually loud enough in my soloing - I correct this partway through. I like my playing overall but I really wanted to share this because of the incredible groove Tim and Matt create.
I have conflicting thoughts about excerpting from larger tracks in this manner. The main reason that I do this, as opposed to posting up entire, 30+ minute improvisations, or entire concerts, is to try and make this blog (and this music) listener friendly. I know how I am as a listener when it comes to something I'm finding on the internet: impatient, preoccupied. And I love listening to music, and I have a lot of patience for long tracks. Plus, this blog is for a general audience, and the psychological price of admission of pressing play on a 30 minute track, or downloading a concert and listening to it, is higher than I expect most people to pay.
So, I've been trying to capture what I think are the most compelling and complete parts of the performances, particularly that showcase something of interest to me and that won't be too hard to listen too. That doesn't mean I don't think the whole show is compelling, and I regret that some of the process is lost - when something is excerpted, one doesn't get the whole context of how it developed. But of course, to truly get that context, you need to be at the show and in the moment. Excerpting is really a form of retroactive composition, and changes the essential nature of the music. I will note that everything I post up here is free of internal edits or EQ adjustments, except to raise or lower the overall volume level and fade in and out at the beginning and end.
There's a rich tradition of this kind of excerpting in jazz: "Bitches Brew" and "Live Evil" (Miles Davis) are the first things that come to mind. Listening to 'Sivad', the first track of "Live Evil" (a live recording) we just hear a drumroll into that nasty bass line, fully formed and kicking ass - we don't hear the half hour of equally killing developing, polishing, and poking around which took place beforehand to get the groove to such a heavy spot. That's what the box set is for.
Does anyone have any thoughts about this issue? Is there anyone wishing I would put up the whole performances?