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286 beats per minute is not a tempo I visit regularly, so this piece could as well have been called “by the seat of your pants”. One of the key things when you’re playing fast is to give the impression that there’s no rush, or better still, to actually be in no rush. I try not to let the sticks run away with me, which as you can hear I signally failed to do on this outing. I haven’t got fast tempi down, yet. It’s something to do with fewer notes per measure; taking things out. This music starts well from my point of view, with just hat and kick, and thus space, even at high velocity. But then it gets busier..!
As regular subscribers here will know, sound and image quality on the clips on my Channel can vary, from a compressed smart-phone somewhere in the back of a club to high-quality, well-produced King Crimson or ABWH. I’m not in control of this and I understand some are unable to get past the sound quality to the music. For those people, the sound quality IS the music. I come from an older generation that grew up listening to scratchy vinyl, often poorly recorded, where you considered yourself lucky if you could actually hear the bass. But the shit was burnin’. The house was on fire.
On this we take a stand. Lots of videos we could use are sonically or visually so terrible they frighten the horses and we don’t use them. Some are borderline, but something in the music is worth making the effort to get past the indifferent sound or visual quality. The people at Aviator who process the material on this Channel do their best with sometimes hopeless sound or visual, and all of it is handled with a great deal of care and attention. Just sayin’.
Incidentally, a lot of folk mistakenly assume there is a bottomless pit of this material. Not quite true. I was active for 41 years. For the first 10 years few organisations outside the BBC filmed or recorded anything, unless it was a label commissioning an expensive live album. Then, slowly, more portable tape recording arrived, usually in a truck, and US radio stations began to record for broadcast - see, for example, the Bruford Tapes (1980). It was another decade or so before the musicians themselves were commissioning live recordings of their work (Earthworks’ Random Acts of Happiness [2004], or Earthworks Underground Orchestra [2006]), and thus ownership and freedom to use as they saw fit. Then it snowballed and now today’s self-aware performers are doubtless documenting everything they do from day one - the recording of the rehearsal of the rehearsal; the studio arguments; the walk to the bathroom and back.
The bands I was in typically recorded in expensive studios. As soon as you were satisfied with the 40 minutes necessary for an album, you were out of there pronto. Nobody much thought to keep the rubbishy outtakes. You recorded over them so as not to waste the pricey two-inch recording tape.
So that’s why there’s not much old stuff, and what there is is of variable quality. Personally I love the content on this channel. We’ve already posted north of 110 videos, and I’m expecting to do roughly the same again in the next year or so. After that, it’s anybody’s guess.
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