seekingferret: Word balloon says "So I said to the guy: you never read the book yet you go online and talk about it as if--" (Default)
[personal profile] seekingferret
King Porter Stomp

Jelly Roll Morton - "King Porter Stomp" 1924
Benny Goodman and his All Stars- "King Porter Stomp" 1935
Pat Williams- "King Porter Stomp" 1968
Manhattan Transfer - "Stomp of King Porter" 1997
Wynton Marsalis - "King Porter Stomp" 1999

Women in Jazz

Billie Holliday- "They Can't Take That Away From Me"
Ella Fitzgerald - "Take the A Train"
Mary Lou Williams with Andy Kirk and his Twelve Clouds of Joy - "Mary's Idea"
Albinia Jones with Don Byas' Swinging Seven - "Evil Gal Blues"
Terri Lyne Carrington - "Mosaic Triad"

Jazz as Concert Music

Miles Davis- "So What"
Charlie Parker - "Ornithology"
Thelonious Monk w. John Coltrane "Bye-Ya"
Dizzy Gillespie - "Salt Peanuts"

Modern Jazz

The Bad Plus- "Smells Like Teen Spirit"
Esperanza Spalding - "Endangered Species"
Vijay Iyer - "Optimism"
Ikue Mori - "Invisible "Fingers"
Matana Roberts "Pov Piti" from Coin Coin vol. 1

(no subject)

Aug. 15th, 2017 05:00 pm
seekingferret: Word balloon says "So I said to the guy: you never read the book yet you go online and talk about it as if--" (Default)
[personal profile] seekingferret
Worldcon, as mentioned, was something of a mixed bag. Helsinki itself was great, but the con had ups and downs.

I got in Monday afternoon and spent the afternoon holed up in my hotel room torn between a strong desire to start exploring and a brutal jetlag exhaustion. Exhaustion won, but I managed to stay awake in a stupor long enough to knock myself into the right time zone for Tuesday.

Tuesday I went on a con-organized bike tour of Helsinki. Helsinki has a billion to one scale model of the solar system scattered through the city and we set out to go from the sun to Pluto. The total ride including getting to the sun and getting back to return the bikes was about 25 miles, by far the longest bike ride I've ever done, and it was amazing. The views of the city we got were stunning, the treasure hunt aspect of finding the planets was a lot of fun, and I got to meet a variety of Worldcon members who I stayed in touch with throughout the con.

Subsequently I took advantage of Helsinki's city bike program to borrow bikes for shorter trips, mostly to-and-from the hotel and the convention center. Helsinki is full of bike lanes and people seem to be using them quite a lot. My hotel was about a 3/4 mile walk to the con... not a walk I minded doing, but it was much faster doing it on bike.

Wednesday morning, worried about undercurrents of uncertainty about lines for registration, I got to the con early... and was in and out with my badge in five minutes. Registration: Well managed, never the problem, unlike at Loncon where lines to get badges were over an hour in length for quite a while. Left at odds until the con started in the afternoon, I schlepped down to central Helsinki, prowled the streets for a while admiring the architecture and the trees, visited the Ateneum national art gallery (Finnish art has such an unsettlingly beautiful aesthetic!) and got lunch at the only kosher restaurant in Finland.

Then I headed back to the con, caught the opening ceremony, and then spent a few hours failing to get into panels. It turns out this Worldcon got a lot more people than expected, than they had space for, and than they had programming for. Particularly on Wednesday and Thursday, if you wanted to get into panels, you had to show up most of an hour before the panel started and get on line. This meant that you basically had to alternate panels and queueuing rather than being able to go to a panel every hour. It was frustrating. As time developed, they added more programming space and repeated some popular panels, and at the same time, people got a better sense for how long to wait for a panel, so the lines got better, though it remained a challenge all weekend to ensure you actually got into panels you were interested in. This was frustrating even though I didn't really care all that much about missing most of the panels, because other people were and it made everyone's time management much more finicky. It was a lot harder to make plans to hang out with people when they needed to budget not just an hour for that panel they wanted to see, but also the hour before for line waiting. I got a lot of my hanging out with friends time at Worldcon done waiting on lines for panels I didn't even want to see, because it seemed like a better use of my time than waiting alone on lines for panels that sounded more interesting to me personally.

After a bit of line waiting, I went to the FFA meetup, which was a better use of my time. Things said under the seal of FFA meetup are protected by privilege, but it was fun to meet FFA people from all over the world and we hung out for several hours avoiding panels and then stayed on line together for an ultimately disappointing panel on Pirate Erotica.

Thursday I skipped the con in the morning and instead met [personal profile] ambyr and her friends for a tour of the Helsinki synagogue. In the afternoon, I missed the chance to attend a panel on Golems ([personal profile] ambyr reassured me it wasn't very good), caught a panel on the history of fandom that did the usual stuff about Worldcon I and the Exclusion Acts but then swung over to an interesting and somewhat novel survey of the early history of Nordic fandom, saw a disjointed but compelling panel on diaspora writing with Zen Cho, Ken Liu, Liu Cixin, and Israeli editor Ehud Maimon, listened to Jeff Vandermeer do an excellent job of interviewing Johanna Sinisalo and drawing out her literary themes and structures. Then I caught up with [personal profile] ambyr and her friend and we got on line for the clipping concert.

clipping was so great! Daveed Diggs has incredible charisma and the lyrics are so densely clever and so intensely science fictional both in the sense of being preoccupied with technology and in the sense of being about estrangement, to borrow the theme of the Worldcon academic track. There was, however, this to-be-expected tension between hip hop culture and SF fan culture at the concert, made even deeper by con staff's refusal to remove the chairs from the concert hall. Diggs encouraged everyone to make into aisles and non-chair laden spaces in order to dance, which we did, but that only reinforced the way the concert had been artificially limited in scale by an inappropriate venue. More hilariously, when Diggs asked the room "Who here's from Helsinki?" and got a couple of polite hands raised, he doubled over laughing and then said "Let me explain something to you: At a hip hop concert, when someone mentions the place you're from, you're expected to make noise at the top of your lungs." The very premise of a hip hop concert at an SF con in Helsinki seemed fundamentally culturally mismatched, but it was a spectacular show that I'm so grateful to have seen even in its weird context.


Friday morning, I did the Stroll with the Stars constitutional with Guest of Honor Walter John Williams and Lawrence Schoen, then attended the Business Meeting. After contentious debate, the business meeting ratified the unnamed Young Adult award and approved the name Lodestar pending reratification by San Jose.

After the Business Meeting I was pretty peopled out. I went back to my hotel room for lunch and then was so zombied out that I decided to skip going back to the con in favor of chilling out in my room watching sitcoms and cheesy action movies until the Hugo Awards.

The Hugo Awards were fun to attend, though the ceremony dragged on a tad too long because of the decision to include the awarding of the Seiun (Japanese fandom awards) and Atorox (Finnish fandom awards) as part of the ceremony. It was a nice thought to internationalize the ceremony but in practice it didn't really give those awards the attention they deserved and made the Hugos run long. N.K. Jemisin won the Best Novel Hugo again (well deserved IMO, it was the top of my ballot), Ursula Vernon gave a delightfully ridiculous speech about whale fall, and the Puppies weren't even really able to mar the joy of the ceremony at all this time.

Saturday morning, I once again attended the Stroll with the Stars, with the always entertaining Scott Edelman as the star. (Helsinki totally half-assed Stroll with the Stars, which is usually a favorite part of the con for me. Past Worldcons have gotten more than just a single 'star' for the walk, and have had locals to guide the walk to introduce visitors to parts of the city they otherwise might have missed. The walks in Chicago took us through parts of Grant Park and other highlights of downtown Chicago. In London we got some walks along the Thames. In Helsinki, in addition to getting far lower attendance, the organizers didn't even bother to go along with us on the walk, leaving a bunch of visitors to Helsinki to navigate on their own.) Then I went to the business meeting again, where the Best Series Hugo became a thing after much argument. I was pretty peopled out after this, too, so maybe 'peopled' out shouldn't be the term I use so much as 'angry at the world because of the business meeting', but I went to various panels all afternoon anyway, including a panel on Netflix Marvel shows that was largely dissecting the many, many problems with Iron Fist, a panel on the trend to more SF being translated into English, and a panel on the way digital distribution was potentially going to force the Hugos to rethink some of its categories, one of these days. I otherwise hung around the convention talking to people, skipped the masquerade but caught some of Sassafras's Norse eddas-themed halftime show, and then went back to my hotel for the night.

Sunday I did Stroll with the Stars a last time, met up with [personal profile] liv and [personal profile] jack for a far too short ten minutes, then headed to the airport to go home.


I met a lot of awesome people, had a great time in Helsinki, and there were some really cool things at the Con. But the lines were a serious damper on the fun and I hope future Worldcons will be able to do better at managing crowd sizes..
genusshrike: Anders from Dragon Age puts his hands up (anders hands)
[personal profile] genusshrike posting in [community profile] vidding
Title: Anything for Love (Including That)
Fandom: Mass Effect and Dragon Age series
Music: I'd Do Anything for Love, by Meatloaf
Summary: Thanks for the terrible romantic choices, Bioware

DW | YouTube | AO3

Two Holby City (Berena) Vids

Aug. 13th, 2017 01:07 pm
cosmic_llin: (Default)
[personal profile] cosmic_llin posting in [community profile] vidding
Title: Love and Affection
Artist: Joan Armatrading
Fandom: Holby City
Pairing: Serena Campbell/Bernie Wolfe
Summary: Give me love, give me love.
Content Notes: No standard notes apply
YouTube | AO3 | Tumblr

Title: Come Hell or Waters High
Artist: Judie Tzuke
Fandom: Holby City
Pairing: Serena Campbell/Bernie Wolfe
Summary: If I feel alone, I know your heart's my home.
Content Notes: No standard notes apply
YouTube | AO3 | Tumblr
lokifan: pouty Prompto from Final Fantasy 15 (Prompto: pouty)
[personal profile] lokifan
He is a total baby when he doesn’t get what he wants.

We don’t see loads of this in the game, but in the game he’s in control basically 100% of the time. (“Death’s chill wind” is about the only time he seems actually taken by surprise, and he is actually looking for death, so…) But sometimes it must happen, and he reacts without the maturity we might hope for from a zillion-year-old statesman.

Ardyn is a very specific combination of getting everything he wants, thanks to being a Machiavellian mastermind with superpowers and a cabinet position, and getting nothing that he really wants, having been supremely fucked over by the gods. So I reckon it’s really easy for him to feel deeply thwarted by minor problems. Every time something doesn’t go his way it is YET ANOTHER INJUSTICE WROUGHT BY THIS CRUEL WORLD AND ITS CRUELLER GODS. *shakes fist at the sky*

Especially if it relates to Noct getting something Ardyn wanted. He haaaaates that.

(no subject)

Aug. 11th, 2017 03:27 pm
seekingferret: Word balloon says "So I said to the guy: you never read the book yet you go online and talk about it as if--" (Default)
[personal profile] seekingferret
Vividcon in general was an amazing time. Highlights were pretty much as predicted- I had a lot of fun doing my jazz panel, which I've separately written up. Premieres was full of beautiful and smart vids. Club Vivid was wonderful, and dancing to my vid was a high I may never come down from. My Shabbos dinner was terrific, with the lovely company of [personal profile] kass, [personal profile] roga, [personal profile] bironic, and [personal profile] ride_4ever. Playing a half-orc bard in [personal profile] jetpack_monkey's D&D game was a blast. And hanging out with so many awesome fans and talking about vids and fandoms all weekend was wonderful. I'm really going to miss Vividcon after next year.


Favorite Vids from the con (but there were so many others beyond these that I liked)

-[personal profile] gwyn's Star Wars vid Battleflag, which jumps from era to era beautifully telling a story of fighting for what you believe in against great odds.

-[personal profile] cherry's Thor vid Monsters of the Cosmos, which okay, I HATE the Symphony of Science because I think it fetishizes science, stripping away all the hard work and controversy and pretends like science is something inherently and unambiguously beautiful, emerging from these lone genius scientists for whom the beauty of the cosmos just magically unfolds.

And I'm frustrated with Thor because of its science-as-magic ethos, which only rarely the movie lets Jane Foster do battle with.

So the idea that I love Monsters of the Cosmos astounds me, but it's such a brilliant mashup of different kinds of fake science, and the way it centers Jane's journey is wonderful. Like, in Thor I, Jane is searching for evidence of an Einstein-Rosen bridge, a theoretical mathematical model of the interaction of exotic particles and relativity. In finding that it's real, she instead of getting entangled in the physics finds herself entangled with the literal monsters of the cosmos. It's like she gets swallowed up by something that should have just been a metaphor, while the song is elliding the fact that the idea of monsters is just a metaphor. The song says "Truth is stranger than scifi," and this is the kind of line that in my opinion has no place in a serious conversation about science, but it's the world Jane inhabits!

It's such a brilliant combination and the timing and arrangement of the visuals is stunning.

-[personal profile] dar_vidder's Harry Potter vid "The Tale of the Three Brothers", part of a yet further extended set of Harry Potter vids to Fantasia that I have not had a chance to fully watch yet. But this piece is gorgeous and grounds the whole Harry Potter series in a saga that goes back much farther and reaches much deeper than Harry's experiences, centering Dumbledore as the man who digs up ancient and powerful magicks that end up exacting a heavy toll on the lost boys around him.

-[personal profile] pipsqueaky's Keanu Reeves multivid Incredible Thoughts, about all the deep thoughts that much be going on behind Keanu Reeves's blank face. Brilliantly hilarious.

-[personal profile] sisabet's New Girl vid Wake Me Up Before You Go Go because it lets Schmidt be a total douchebag and Cece be a total bitch and still takes them seriously and celebrates their undying love for each other.

-[personal profile] anoel's Star Wars vid Carry that Weight even though I'm not capable of coming up with the words to explain how amazing it is, how it celebrates Leia and Rey, and Carrie Fisher and Daisy Johnson, and appreciates how significant they are as focal points of female pride, and yet they also reflect a fundamental failure to center women's stories in the SF we consume. I love how the end of the vid widens the scope.

-[personal profile] sweetestdrain's Harry Potter vid Blackbird, which overlaps significantly with [personal profile] chaila's amazing "I am the one who will remember everything" in terms of source footage used, but which by moving more linearly presents the clear and stunning image of McGonagall as a woman on a mission.

-[personal profile] grammarwoman's Star Wars vid "That's What's the Matter" (not yet online that I can see), which uses a Union song from the US Civil War to snark at the Imperials so cleverly.

-[personal profile] bessyboo's Ghostbuster's vid Light 'Em Up from Club Vivid, for so much exciting Ghostbusting action.

-[personal profile] sisabet and [personal profile] trelkez's Thor vid "Tubthumping" (Not yet online that I can see), so delightfully over the top.

-[personal profile] jetpack_monkey's Wuxia multifandom vid Uptown Funk, capturing the tropes and the balletic joy of the genre.

-[personal profile] pi's multifandom older women vid Worth It, proving that writing this post in one sitting has exhausted me because I have lots of feels about this vid but nothing to say except Watch it.




Now I am in Helsinki for Worldcon. Worldcon is more of a mixed bag, but mostly I'm having a great time in Helsinki.

Yield | I Can't Think Straight

Aug. 10th, 2017 10:25 pm
aurumcalendula: gold, blue, orange, and purple shapes on a black background (Default)
[personal profile] aurumcalendula posting in [community profile] vidding
Title: Yield
Fandom: I Can't Think Straight
Music: Yield by Indigo Girls
Summary: 'my love for you is sincere'

AO3 | DW | tumblr | youtube

Red things : music video fanvideo

Aug. 10th, 2017 04:30 pm
littlecatk: cartoon sun, yellow (Default)
[personal profile] littlecatk posting in [community profile] vidding
Title: Red Things
Fandom: Music Videos 
Music: The Kinks - Polly
Summary: Live life to the fullest. The colour red.
Notes: I would love to make a series of this kind of video, so if you want to rec me music videos, please do.

VividCon 2017

Aug. 9th, 2017 11:49 am
dar_vidder: (Default)
[personal profile] dar_vidder posting in [community profile] vidding
Vid: Wolves Without Teeth
Music: Of Monsters and Men
Fandom: Sense8
Summary: You can follow me.

DW/LJ/AO3



Vid: The Tale of the Three Brothers
Music: Leopold Stokowski and The Philadelphia Orchestra
Fandom: Harry Potter
Summary: Hogwarts was the first and best home he had known. He and Voldemort and Snape, the abandoned boys, had all found home here.

AO3



Vid: Something Wicked
Music: Leopold Stokowski and The Philadelphia Orchestra
Fandom: Harry Potter
Summary: ...this way comes.

AO3



The 2 HP vids above that premiered at VVC were also part of a larger vid series I created over the last year that was set to the soundtrack of Disney's Fantasia. The vid series is 23 minutes in length in its entirety, but I also uploaded each vid from the series separately to youtube/AO3 so viewers could skip around or jump to a specific song/subject matter if they so desired.

DW/LJ/AO3

beerbad: (wynonna earp - OTP)
[personal profile] beerbad posting in [community profile] vidding
Title:  I Took a Pill in Ibiza
Fandom:  Wynonna Earp
Music:  "I Took a Pill in Ibiza" (Seeb Remix) by Mike Posner
Summary:  A family curse, a magic gun, some demons, and a whole lotta feelings.  [Spoilers through 1x13]
Notes:  This is a S1 Wynonna character study vid that premiered at Vividcon 2017.  Full notes available at my vidpost.

YouTube | AO3 | Tumblr | DW | Twitter
beerbad: (marvel - katyana - smirk)
[personal profile] beerbad posting in [community profile] vidding
Title:  Not Afraid Anymore
Fandom:  Resident Evil (Extinction, Afterlife, and The Final Chapter)
Music:  "Not Afraid Anymore" by Halsey
Summary:  Alice and Claire in the eye of the storm.
Notes:  This is an Alice/Claire vid that premiered at TGIFemslash 2017.  Full notes available at my vidpost.

YouTube | AO3 | Tumblr | DW
winterevanesce: (teen wolf: fire)
[personal profile] winterevanesce posting in [community profile] vidding
Is It Safe Now?
Fandom: Eyewitness
Song/Artist: Lights Out by Virginia to Vegas
Summary: "I always feel like somebody's watching me." (Vividcon 2017 Premiere)
DW | Website | A03 | Tumblr

Desire
Fandom: Heartless
Song/Artist: Desire by Meg Myers
Summary: "How do you want me?" (Vividcon 2017 Premiere)
DW | Website | A03 | Tumblr

aurumcalendula: view of Peacemaker's barrel (Peacemaker)
[personal profile] aurumcalendula posting in [community profile] vidding
Title: When Sorrows Encompass Me 'Round
Fandom: Wynonna Earp
Music: When Sorrows Encompass Me 'Round by Crooked Still
Summary: "you can never really go home again"
Notes: Premiered at Vividcon 2017. Thank you to Ambrose, [personal profile] mswyrr, and skillzyo for giving me feedback on it!

AO3 | DW | tumblr | youtube
aurumcalendula: gold, blue, orange, and purple shapes on a black background (Default)
[personal profile] aurumcalendula posting in [community profile] vidding
Title: Gold Dust Woman
Fandom: Xena: Warrior Princess
Music: Gold Dust Woman by Halestorm
Summary: pick up the pieces and go home
Notes: Premiered at Vividcon 2017. Thank you to [personal profile] mswyrr and skillzyo for giving me feedback!

AO3 | DW | tumblr | youtube
aurumcalendula: Due South titles (due South logo)
[personal profile] aurumcalendula posting in [community profile] vidding
Title: I Just Want You to Know Who I Am
Fandom: Due South
Music: Iris by Goo Goo Dolls
Summary: 'Everyone here knows who I am Fraser, how about you?'
Notes: made for [personal profile] ride_4ever for the 2017 Vividcon Auction. I had a lot of fun making this!

AO3 | DW | tumblr | youtube
seekingferret: Word balloon says "So I said to the guy: you never read the book yet you go online and talk about it as if--" (Default)
[personal profile] seekingferret
Because I am perverse, I structured my vidding panel around the reasons why you shouldn't vid jazz music. I had come up with a pretty good list of reasons before the panel:


-unstructured 'songs', not necessarily verse-chorus-verse-chorus
-many different versions of songs, no 'canonical' expected version from audience
-audience not as familiar with the music as with pop songs
-vidder not as familiar with the music as with pop songs
-sounds old-fashioned
-Can be hard to follow the melody
-syncopation/swing makes tricky rhythms to cut to
-Songs often much longer than typical vids
-concern to be sensitive about jazz as an African-American music and avoiding racism/appropriation
-not a lot of female musicians visible in the genre/misogyny in the music


The audience agreed that yes, these were all good reasons not to vid to jazz. We considered adjourning the panel right there. Instead, I tried to play a variety of kinds of jazz music to illustrate some ideas I had about how to overcome these problems. I didn't manage to mention all of my ideas in the panel, so these notes will constitute both an attempt to summarize what we talked about at the panel and an attempt to restructure the panel retrospectively so that it conforms more closely to its platonic ideal form.


The first set of music I played was five version of Jelly Roll Morton's classic jazz melody "King Porter Stomp." Composed in honor of his friend and fellow pianist Porter King in the early 1900s and first recorded by Morton in the early 1920s in the infancy of recorded jazz music, "King Porter Stomp" has had long, long legs as a jazz standard.

The playlist was

Jelly Roll Morton - "King Porter Stomp" 1924
Benny Goodman and his All Stars- "King Porter Stomp" 1935
Pat Williams- "King Porter Stomp" 1968
Manhattan Transfer - "Stomp of King Porter" 1997
Wynton Marsalis - "King Porter Stomp" 1999

By looking longitudinally at one song, we get to see the way jazz reinvents itself while retaining its history. Goodman's version is considered historically important as the kickoff of the big band era, at a seminal Los Angeles concert that told the record companies that swing would sell. The subsequent recordings retain specific and calculated quotations of both the Goodman and Morton arrangements- the Williams recording opens with the exact piano riff from the Morton version, the Manhattan Transfer version uses the Goodman arrangement but interpolates lyrics relating the story of the creation of the Morton version, and the Marsalis version returns to the original Morton arrangement only with a more highly prominent trumpet part and better recording fidelity and .

I had intended to talk more about the recording technology and the history of jazz, as I think it's actually important to keep in mind since jazz's history overlaps almost exactly with the history of recorded music. Until the mid 1940s, jazz was recorded to wax, which was then laboriously transferred to a metal master for pressing to 78 rpm vinyl. The result was mono both in recording and playback: If you wanted to 'mix' different instruments you did so by literally rearranging the musicians with respect to the recording head, moving the horns to the back to keep them from drowning out quieter instruments and so on.

In the '40s, three technologies emerged in parallel that changed this: the electronic microphone allowed instruments to be recorded individually with different recording settings, magnetic tape allowed those recordings to be separately edited and mixed and overdubbed, and the LP allowed those recordings to be played back at a substantially higher fidelity. As a bonus, the LP gave musicians the choice of either writing multiple songs to fill a side, or for the first time recording songs longer than ~ 3 minutes. The technology changed the way jazz was performed once artists assimilated the new capabilities.

So if you are looking to use a jazz song from the '20s or '30s, one of your difficulties is that it's going to sound like shit, and it's specifically going to sound old fashioned, because that grainy, mono sound is what we think of when we think of old fashioned music. You have several ways of dealing with this. One is to embrace it. If you're vidding a 1920s fandom, or vidding something more modern that you want to sound old fashioned, then choosing something recorded to wax will give you the sound you're looking for. The other alternative is to look at recordings like the Marsalis recording- there are musicians today who are recording consciously nostalgic versions of classic jazz songs, with the latest and greatest new recording technology.


The other thing we pointed out about the set of "King Porter Stomp" covers is that the song is a dance song, with a straightforward 4:4 time signature, obvious and repeated jazz form, and a lot of elements that make it fairly unintimidating to vidders compared to a lot of jazz music. In the late '40s and into the '50s, jazz was transformed from primarily being a dance music to being as much a concert music for sitting and listening to as a dance music. The next set of music I played was a collection of jazz music from this period of transition, highlighting the new sounds coming into jazz: Trickier rhythms, stranger harmonies and dissonances, faster note patterns. Music not consistent enough to dance to, but music that relied on the individual voices of its lead practitioners to tell expressive, emotional stories through music.

The playlist was:

Miles Davis- "So What"
Charlie Parker - "Ornithology"
Thelonious Monk w. John Coltrane "Bye-Ya"
Dizzy Gillespie - "Salt Peanuts"

To counter comments from the audience about the difficulty of finding structure in these more musically complex pieces, I pointed to specific structures common in jazz music, like the precomposed call and response passage that opens "So What", a technique originating in jazz's history as a music inspired by African folk traditions, and a technique we'd come back to in the Modern Jazz playlist to follow. I also pointed to examples of improvisional structures such as 'trading fours', the technique of two soloists altenrately improvising four measures back and forth. I also pointed out that the classic AABA 32 bar pop song form and 12 bar blues song form don't go away in this concert jazz era, it's just that rather than repeating the melody each time, the chord progression is what's repeated, embellished and revoiced to suit the individuality of the soloists. Someone in the audience pointed out that this individuality of instrumental expression offers opportunities for vidders to associate particular instrumental parts with themes or characters.

It was particularly hard for me to cut these songs down to a minute or so, because their overall structures play out over the full scale of the song.


The next set I played was Women of Jazz, to present some female voices, both singers and instrumentalists, as a counter to the idea that jazz is this male-driven genre. Because I do think this is a problem for vidders, who are predominantly women. This set also let me revisit some genres and techniques otherwise not as well covered by my music choices- Ella Fitzgerald's song highlighted the use of vocalese or scat, a technique of singing nonsense syllables that offers tremendous potential value to vidders who are often thwarted by that one lyric that undermines our whole vid. "Take the A Train" is also the prototypical 32 bar song, and "Evil Gal Blues" is a prototypical blues, so it let me talk more about the importance of those song structures to jazz music, and to consider those structures if you need to cut down a song. Meanwhile, Mary Lou Williams let me bring in some more swing music that wasn't "KIng Porter Stomp", and Terri Lyne Carrington introduced listeners for the first time in the panel to contemporary jazz sounds.

The playlist was:

Billie Holliday- "They Can't Take That Away From Me"
Ella Fitzgerald - "Take the A Train"
Mary Lou Williams with Andy Kirk and his Twelve Clouds of Joy - "Mary's Idea"
Albinia Jones with Don Byas' Swinging Seven - "Evil Gal Blues"
Terri Lyne Carrington - "Mosaic Triad"


I concluded with a set of music from the last ten years or so, contemporary jazz in some of its multifarious forms.

The playlist was:

The Bad Plus- "Smells Like Teen Spirit"
Esperanza Spalding - "Endangered Species"
Vijay Iyer - "Optimism"
Ikue Mori - "Invisible "Fingers"
Matana Roberts "Pov Piti" from Coin Coin vol. 1

It's a bare sampler of the diversity of modern jazz, but it at least hints at all the directions jazz is heading in, use of electronics alongside acoustic instruments in Ikue Mori's music, use of rock and roll idioms in the music of Iyer and the Bad Plus, use of funk and soul idiom alongside jazz improv in Spalding's music, the incorporation of spoken elements in "Pov Piti" and the consciousness of modern political struggle. And I pointed out that the opening call and response between piano and bass in the Bad Plus "Smells Like Teen Spirit" is an almost explicit homage to Miles Davis's "So What", that no matter how much jazz pushes in new directions, what makes it jazz is its awareness of its history and its relentless reinterpretation of that history.

So I think the bottom line of the panel was that jazz is a terrible music to vid, but it's awesome music, and the more you learn about how jazz works, its context and its history and its structure, the easier it will be to overcome the inherent difficulties it presents to vidders. That's not necessarily an easy answer, there's no great and simple technique that solves all the problems, but different jazz music suffers from different problems, and in this way the diversity of jazz is a tremendous asset to vidders.

I will post a download link for all this music once I'm back at home after Worldcon.


Also, [personal profile] settiai posted notes on the jazz panel

In Helsinki!

Aug. 7th, 2017 04:51 pm
seekingferret: Word balloon says "So I said to the guy: you never read the book yet you go online and talk about it as if--" (Default)
[personal profile] seekingferret
Motherfucking time zones, how do they work?

April 2017

S M T W T F S
      1
2345678
9101112131415
16171819202122
232425262728 29
30      

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Aug. 17th, 2017 09:26 pm
Powered by Dreamwidth Studios