I personally don’t enjoy hearing the 109th rendition of Around Midnight either, unless someone really has something new to say about it, which is rarely the case.

I agree with you that the strength of Woody’s project lies in the conversational quality that you refer to, and it’s good to know that this was what he was aiming for. He and his colleagues nailed it.

I also agree with you that people without a sufficient attention span and without the sophistication to enjoy collective improvisation without the aid of familiar musical structures to help them through it will be left cold by the project. The problem is that there are a lot of people like that around, so I feel constrained to write for them in my review. And, to be honest, I like hooks of the sort that you’re liable to find in a piece like Wayne Shorter’s Joy Ryder, to name one tune.

Which is not to say that I can’t appreciate collective improvisation for it’s own sake. I do, which is why I’m recommending A Conversation on my site.

And once again, thank you for the opportunity to review some of your projects. I don’t take this responsibility lightly. It is my intention to promote jazz, particularly new music, whenever and as much as possible without losing my integrity as a critic.

Michael Kydonieus
JazzboNotes.com

I disagree with you about a few things. I personally do not need or want familiar music as a selling point, either as a producer or as a consumer. I’ve never understood that strategy. I want to hear new music, and the point of my label is to introduce new music. I already have 87 renditions of Autumn Leaves. Who needs another one? The things you mention as negatives are to me, all positive. This is a creative, interactive “conversation.” That is what it is supposed to be, and it isn’t intended to be something else. If a listener hasn’t got the attention span for that, they won’t enjoy it, and shouldn’t bother.

Imagine if, as you and I were talking, that I were to insist you recite someone else’s words and ideas, citing that yours just weren’t commercial enough to be heard. If you were to comply, we would be in a “play,” not in a “conversation.” That isn’t what this particular work of art is about. I concede that many labels do apply strategies of familiarity when selling music, but to me, that is what is wrong with
the music business, and exactly why I have my own label.

I disagree about the accessibility or memorable quality of Woody’s compositions too but hey, you’re certainly entitled to your opinion.

I am simply thrilled that you took the time to write the review, and I’m secure enough in my impressions to be comfortable with yours.

Thanks again.

best,

Chris Cortez
Blue Bamboo Music