Originally posted by jazzwee:
This is what I've been talking about Disciple. Relying on accents rather than the triplet feel. I'm going to point this out to our jazz study group.
That was the major dividing line between Tristano ("cool" jazz) and most jazz players out of the Dizzy/Parker school. Many called Lennie and his crew's playing "too cerebral", or cool and unemotive.
I've explained it before, but to synopsize, Lennie could create the same type of drive and propulsion on his lines without resorting to common jazz triplet swing (more properly, eights notes played with a push, or shuffle, like eighth note trips with the first two tied).
Lennie could acheive the same kind, and transcend that type of METRIC propulsion (swing) with DYNAMICS, the phrasing of his lines. The relationship between the dynamic attack and duration of each note within his lines, causing certain notes to "pop" out from within the macro framework of stretches of sometimes up to 500 notes!
A dynamic profile of one of his lines, say a 25 note line, may look like this (where each note is represented dynamically between a number 1-10, 1 being ppp, and 10 being Sfffz):
3-3-7-3-1-5-10-5-10-3-3-3-1-10-, etc., etc.
Lennie also could create metric subgroups thusly:
giving a line a THREE feel, even though straight eights in 4/4 time were being played!
10-5-5-5-10-5-10-5-5-5-10-5-10-5-5-5-5 which gives a feeling of playing in 3 while perfectly following the quarters of 4/4 time.
These principles are exactly what's in play on the 317 E 32nd link I posted, and this one: http://www.amazon.com/Line-Up-LP-Ve...=dmusic&qid=1202456851&sr=102-12