Not sure about base jumping, but heroin's pretty much mandatory.
Charlie Parker: junkie.
Chet Baker: stone cold junkie.
Billie Holiday: junkie; Coltrane: junkie; Miles Davis: junkie.
Why am I even bothering with a list? Everyone who was anyone in jazz junked out
https://rateyourmusic.com/list/headphonian/jazz_artists_who_were_heroin_addicts/

But... that's none of my business. Probably just a coincidence

 

Last edited: Jan 23, 2018

You forget The legends : JIMI HENDRIX,JIM MORRISON,JANIS JOPLIN etc.
It's not Jazz that's killing people.It's not Music either.
It is something else my friend............
But that's another topic for discussion.

 

Last edited: Jan 23, 2018

... were rockers, not jazzers.

Not about killing, it's about
"Jazz is like blues with a shot of heroin." --Miles Davis
"I don't like heroin, unless you're a jazz musician and then you have to be on it because jazz is the sound of heroin." --John Waters

But correlation doesn't imply causation, not even when it's almost 1:1

https://rateyourmusic.com/list/headphonian/jazz_artists_who_were_heroin_addicts/

 

that is exactly right. its the way i myself go about it to.

the theory part is just to understand the way music works and then you take your creative ideas and put them into music with your knowledge of how music works running in the background.

its identical to how our brain deals with our spoken language we think the idea what we want to say, and the knowledge in the background makes the sentence come out right,
its the most natural way to go about witting music.

those that dont have much knowledge about the way music actually works , have to audition a note for note step by step .
by the time you get any amount done ,your so burned out from have to process that (you dont feel like you have enough energy or drive or inspiration to finish it. (writers block)
where if you have a decent knowledge the way music works ,you get inspiration for a melody and your background knowledge running in subconscious can create 100 variations in a moment and you can pick the best one .
you can take the iron man riff or smoke on the water riff and instantly create 100 versions of each that are slightly different.
just like when we use our spoken language we know 100 ways to say the same concept.
this is the reason why music is a language an specific genres and styles are their own languages also.
the way music actually works and (jazz specifically) is a fractal of sound
https://78.media.tumblr.com/eeb25434f8100dd7595151382ff9bcf0/tumblr_nfisml9caV1txeruoo1_r1_500.gif

 

Last edited: Jan 23, 2018

this is tue, once i got into jazz after being a metal head musician for 25 years . now metal is very childlike and a joke to me ( but i still like sometimes)
it hard to take bland 2d music very serious because you hear a note ringing for 3:30 mins and that is it just one note ringing ( the key)
but as you keep going you will realize how to extract what you DO like out of ANY music, maybe one tiny aspect. and build a database in your head of every tiny thing yo like about all the variety in songs and genres and music in general.
funk, latin, African drumming, middle eastern, you can go on and on listing so many types music that have at least 1 unique thing about that is great, you can take the best from all to create a new style of music ( what im working on now)

once you get into jazz, your ears hear a cmaj13th arpeggio in 6 octaves that spans 5 secs of a song (C<E<G<B<D<F<A<C<E<G<B<D<F<A<C<E<G<B<D<F<A<)
your ear hears that to be identical as a single C note ringing ( its just a more detailed version)
your ear hears a Dmin9 to G7-9#9-13 to Cmaj9#11 as identical to a single C note ringing for 5 seconds.
so when you listen to a pop song you hear empty space , nothing happening at all very bland and boring.
but maybe you like the sound of the kick or the 808 maybe you like the tone of vocalist . you can zero in on what you DO like. and take 1 tiny thing out of the experience to focus on the positive.
the more you train your ears to hear the language of music , it becomes like hearing music again the first time the emotional content is very intense.
you ears begin to hear PAST the superficial
say a classical piece has no drums (common) the structure of the music still implies the rhythm so your brain does not care about what is on the surface but instead the deeper picture the depth .

 

Last edited: Jan 23, 2018

I've always asked this simple question that why Jazzers usually don't try to make such beautiful music and haven't got any convincing answer till now. I think they're interested in key changing without any pre-made plan more than anything else and I don't know why. OK, you're the key-switching masters but I don't like it:

 

Last edited by a moderator: Jan 24, 2018

Because Pearl Jam already did it.

You seem to describe something else than jazz. You're probably confusing with "changes" (the word jazz people use to describe different chords).
Yeah that's it. You're confused Foster.

You're the personification of that meme.

 

um dood, JAZZ did all this 125 years before pearl jam did, pearl jam has a jazz spirit somewhat and nods its hat in this song, jazz ORIGINATED all this hahaha
here is a song similar to jeremy that you will like it has a theme and real simple all the charactoristics your talking about

here is another by the duke

and another

FOSTER911"OK, you're the key-switching masters but I don't like it:'"

anything in one key is identical to playing just the one note the whole time, if your ears dont get bored very quickly with that , i guess that means it don't take much musically to please you , that's a good thing!
( picture a movie that stayed in the same frame shot camera angle the whole time)

 

Last edited: Jan 24, 2018

I might've gotten my LUTs and LUFS mixed up a little, can someone help me attenuate my jazz remix for maximum dynamic range? It's already top-notch jazz, just needs to be professionally attenuated to -29 LULs.
Thank you.

 

This is the common reasoning for the key alteration among almost all Jazzers without fully understanding that what can be done in just one key. Why not trying to respect the individual keys and not switching them like s.. partners?

Although the piece I posted is comprised of more than one key (C, D and G), he's changing them pleasantly and for the strong grounds.

 

Last edited by a moderator: Jan 24, 2018

Too damn many pointless flourishes in music in general. Our music must simplify, become more efficient, eliminate the unnecessary! Like the glorious Brutalist architecture, it must exterminate the very will to live!

 

@MMJ2017 thanks for the incocnito link!

i'd liek to return the favor with this one

also a 2017 concert as a treat

have to add this one too

 

According to Wundt curve, in the Jazz region (not-rewarding), pleasantness is negative (frustrating).

 

Last edited by a moderator: Jan 24, 2018

@reliefsan : thanks for sharing the mezzoforte links, these guys are awesome and incredible inspiration! looking forward to the jazzy contributions in march!

 

here is what can be done in one key ( in exact order also) lets say C major

1. C note.
2. C maj13th chord CEGBDFA
2. V to I (GBDF, to CEG
3. ii V I, (DFAC,GBDF,CEGB)
4. chord equivalents
(I=iii,vi)Cmaj7=Amin7=Emin7 (vii%=V7) Bmin7flat5=G7 (bmin7flat5 = dmin6th (ii=IV) Dmin7 = Fmaj7 )
that's every possibility with the notes CDEFGAB in C major with not one single chromatic or alteration or substitution.

now that i have showed you everything that can be done in C major do you still hold to this?
"FOSTER911Why not trying to respect the individual keys and not switching them like s.. partners?"

a key is just a representation of a single note. (center point)
I have no problem writing a song in one KEY makes the process very quick , but is it exciting enough? ...possibly.
if i play C...C...C... for 3:30mins would you love it? ...maybe
how fast or slow how simple or complex does not matter music transcends those attributes.
its like a movie with a quiet scene camera staying still vs a scene with lot of motion, whether still or motion it dont really matter ( if both were awesome)

 

Last edited: Jan 25, 2018

Who has taught you this ratiocination? Why don't you feel sympathy for the beautiful music outside of those illative conceptualizations and abstract thoughts and analyses? Please.....!!!

 

Last edited by a moderator: Jan 25, 2018

I AM the one condoning music outside of those restrictions remember?. YOU are the one condoning music in one key only remember? (what ,you forgot your position on the topic already?)here what you wrote.....


"FOSTER911;This is the common reasoning for the key alteration among almost all Jazzers without fully understanding that what can be done in just one key. Why not trying to respect the individual keys and not switching them like s.. partners?"

"who" taught me all the possibility when you have a group of 7 notes? its not that someone taught me, its like how when we a baby and we start to learn how to use our spoken language we learn from all sources available to use and by the time we a teenager we pretty darn good at it.


MMJ2017"here is what can be done in one key ( in exact order also) lets say C major

1. C note.
2. C maj13th chord CEGBDFA
2. V to I (GBDF, to CEG
3. ii V I, (DFAC,GBDF,CEGB)
4. chord equivalents
(I=iii,vi)Cmaj7=Amin7=Emin7 (vii%=V7) Bmin7flat5=G7 (bmin7flat5 = dmin6th (ii=IV) Dmin7 = Fmaj7 )
that's every possibility with the notes CDEFGAB in C major with not one single chromatic or alteration or substitution.

now that i have showed you everything that can be done in C major do you still hold to this?
"FOSTER911Why not trying to respect the individual keys and not switching them like s.. partners?"

a key is just a representation of a single note. (center point)"


that was a response to you saying
"FOSTER911(almost all Jazzers without fully understanding that what can be done in just one key."

I demonstrated every possibility of what can be done with ONE key
(if i didn't have the knowledge of what could be done with ONE key, how could i really change keys very well?

are you just so lost ,that you don't know the place we are in our conversation?

 

Last edited: Jan 26, 2018

Possibilities inside singular keys are endless and no need to change them. I know how to change them but it's unnecessary:

 

you know how to change them?
If you were in the key of C major, and you wanted to change to the key of G major (for sake of argument only,not saying you actually do)
how do you change form the key of C to the key of G major?
If you were in the key of C major, and you wanted to change to the key of F major (for sake of argument only,not saying you actually do)
how do you change form the key of C to the key of F major?
If you were in the key of C major, and you wanted to change to the key of D# major (for sake of argument only,not saying you actually do)
how do you change form the key of C to the key of D# major?
If you were in the key of C major, and you wanted to change to the key of G# major (for sake of argument only,not saying you actually do)
how do you change form the key of C to the key of G# major?
If you were in the key of C major, and you wanted to change to the key of E major (for sake of argument only,not saying you actually do)
how do you change form the key of C to the key of E major?

answers will be posted after FOSTER911 answers
for fun..........

 

Last edited: Jan 26, 2018

Plan A (the old way):
1. Start playing in the key of C major
2. Stop playing in the key of C major
3. Open browser
4. Type "key modulation chart" https://www.google.com/search?q=key+modulation+chart
5. Look at words and pictures, get bored & start playing vidya

Plan B (better):
1. Start playing in the key of C major
2. Stop playing in the key of C major
3. Start playing in G minor
4. If anyone whines, call out the simpleton on her plebe-tier musical taste& tell her to study jazz. End edifying admonition with "fuck you!"

Plan C: (the right way):
1. Start playing in the key of C major.
2. Ask yourself "Why switch keys from Cmaj to Gmin? Why do I always have to complicate my life? What's wrong with me?!"
2. Continue playing in the key of C major, a perfectly good key.