[Iain Churches[_2_]]

"Nick Gorham" wrote in message
...
Iain Churches wrote:
"John Byrns" wrote in message
...

In article i,
"Iain Churches" wrote:



Chorus overdub is somethimes done for opera, but for totally
different reasons. Tracking is done on jazz records because sometimes
it is difficult to get all the artists in the same studio at the same
time.

How can it be Jazz without all the artists being in the same studio at
the same time?


Indeed:-) But where does it say that a pre-reqisite of jazz is that
all players must be present? Sometimes, especially in the case of
international bands (I am thinking of for instance the Kenny Clarke
Francy Boland Big Band, with whom I have worked) the logistics
of getting everyone in the same studio in the same city on the same
day, are sometimes not feasible.


I guess it depends on which part of the wide ranging music form we label
jazz you are talking about. But given that a large part of much of jazz
performance involves improvisional playing, and for that to progress
beyond the "solo over a backing track" level, it requires at the least two
way communication between the soloist and the rhythm section, and
hopefully communication between the creator/maintainer of the harmonic
framework.

It depends on your use of the word "all". I expect a marktree could be
added later without any major problem :-)

--

'
Hello Nick. Nice to see you on RAT.

I agree with what you say, but jazz is rather more than
"We Free Kings"

A great deal of jazz is structured, played from written
scores of accurate tutti and section playing, with solos.
This is especially so in big band jazz.
I gave the Clarke/Boland orchestra to illustrate my point..

I agree that a recording of say a quintet would be all-but-
impossible without one member, but a 22 piece band is,
due to the way it works, not quite so restricted.

I agree, of coure, that in an ideal situation for the best
possible interaction/dynamic betweeen the players,
a full-house is desirable.

Iain