Trane Clonedom Reaches Its Logical Conclusion

[mikeweil]

You can really hear how important the embouchure is - sounds almost like a bassoon at times - the attack is so uniform.

[AllenLowe]

I actually find it quite fascinating - it has a certain objectivity that I find appealing. In a way, without human intercession, it reveals an important aspect of that solo's essence - and, very ironically, by being so mechanical it sounds more individual than a gaggle of tenor players I can think of, existing as it does without certain inflections I've heard a million times before - this thing has real possibilities -

and I am completely serious here -

Edited February 13, 2007 by AllenLowe

[The Magnificent Goldberg]

I prefer their ad-campaign from the early 90s...

"Blow me some Trane" - wasn't that what JB shouted to his saxist on "Super Bad"?

I hadn't noticed that. Is it on part 1, 2 or 3?

MG

[Swinging Swede]

Speaking of Giant Steps, check out this video of Coltrane's notes coming to life:

[Jim Alfredson]

I prefer their ad-campaign from the early 90s...

"Blow me some Trane" - wasn't that what JB shouted to his saxist on "Super Bad"?

I hadn't noticed that. Is it on part 1, 2 or 3?

MG

I was wondering when someone would get the joke.

[JSngry]

It's on the live version, MG.

[Chas]

I actually find it quite fascinating - it has a certain objectivity that I find appealing. In a way, without human intercession, it reveals an important aspect of that solo's essence - and, very ironically, by being so mechanical it sounds more individual than a gaggle of tenor players I can think of, existing as it does without certain inflections I've heard a million times before - this thing has real possibilities -

I wonder if our reaction to the player-less saxophone is akin to the reactions of those hearing a pianola for the first time . As a reproducer of human musical performance the pianola was imperfect . The reproducing piano that followed was an attempt to better capture the nuances of human piano musical performance . From our vantage point the next step seems inevitable : the production of transhuman piano musical performance , such as found in the work of Nancarrow .

The mechanical recreation of human woodwind musical performance would seem , not just more difficult than the recreation of human piano musical performance , but utterly pointless ( i.e. , no more than a technical or engineering exercise ) . Player-less saxophony awaits its Nancarrow .

Unlike Allen , I don't find the 'objectivity' of the robotic Giant Steps appealing , though I do agree that it reveals an important aspect of that solo's essence , or rather , two important aspects . It reveals the dextrous technical mastery of Coltrane , and more importantly , how much of the solo's appeal is rooted in embouchure and breath control , those subtleties of subjectivity and personal expression which are not captured by the transcription .

[The Magnificent Goldberg]

It's on the live version, MG.

OBO110X

MG

[(BB)]

Player-less saxophony awaits its Nancarrow .

Now I'd like to see if someone could slide that sentiment into some casual conversation today.