(Written 2008-07-17 22:00)
Attended Pori Jazz in Pori, Finland. Highlights: Return to
Forever and Bob
Geldof.
Return to Forever split up 25 years ago and this gig was part of their
reunion tour. The quartet played very solid traditional fusion jazz
(strange, shouldn't that be an oxymoron?), improvisation interleaving
seamlessly with unisonous vamps. There was tangible synergy between
Stanley Clarke (bass) and Chick Corea (keyboards) during the jamming;
observing the professionalism, the playfulness, the ease of it all and
the joy on their faces was a pleasure. The gig wasn't a performance,
it was great musicians having fun together. It was, however, a shame
to see guitarrist Al DiMeola shunted into a side role in all this. It
seems everything can't be healed after 25 years of growing apart. As a
whole, the performance was great. I love fusion jazz and here was one
of the best lineups playing it live.
I found a new friend in Bob Geldof. Firstly, I fell in love with his
style the moment he entered the stage. Secondly, when the music
started I immediately knew what I was looking at: a heir of the same
British music tradition that spawned The Clash's reggae-punk, David
Bowie's detached and angsty country glam rock, David Gilmour, Syd
Barret and Ian Anderson. Bob is a punk star grown old and tired, a
rock musician who found folk influences (like Anderson), and most of
all, a blue storyteller. Needless to say, the gig hit me hard.
And now to the posterior part of my titular juxtaposition: modules,
i.e. tracker music. I've been composing a soundtrack for a short movie
project for the past few weeks. The movie itself was filmed a few
months ago and edited in one all-nighter a few weeks back. First, a
few words on music software:
Years ago, during my first foray into making music, I used Jeskola
Buzz on windows. Buzz was an all-in-one
solution: sequencer, mixer and loads of software synthetizers all in
one sweet package. I've searched for a replacement that would run on
linux for years -- to no avail. A
few
reimplementations exist
nowadays but they tend to be young and flimsy, not ready for
production. BEAST is just inadequate. Running
soft synthetizers and a sequencer separately is just too much of a
bother, but the best method I've run across. I've never digged
sample-based stuff so trackers were pretty much out of the question.
In the end I just stopped making music for lack of time, tools and
motivation.
The soundtrack project provided me with the proper motivation so I
just needed to find the tools. We needed something very acoustic and
decidedly non-electronic, so I turned to the numerous freely-licensed
sample libraries on the internet. I managed to cobble together an
adequate set of sounds and fired up Schism
tracker. I had
played with Impulse Tracker years and years ago and tracker software
on linux while searching for a Buzz replacement. Schism was the best
of the bunch and also a reimplementation of IT so it was a natural
choice. I started working and soon the tracker started feeling very
natural. After a long pause I was channeling creativity into music
once more. It felt great. How typical: to get over the angst and
procrastination all that was needed was the proper motivation. You'll
hear about the movie when it's released, which will hopefully happen
at the Assembly '08 Short Film Compo.
Update: 2008-07-17 22:50 grammar