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I think the key is folk music of the country.. that and culture gets intertwined with jazz and influences the style. I am British and I live in Norway and I feel there is a specific quality to the jazz which is different to UK for example. In fact I don't feel the UK has much of an identity at all compared to most.

material conversation for the conservatory in the years to come ❤🎉😂 well done

Great. Stop

Super tema ❤

40

Love the way he plays. It's been more than 49 years since I last heard him.

An extraordinary a very needed explanation. Few artist actually talk in depth about what they do on their instruments because they are so focussed about getting humanly as good as posible at their forever evolving traít

Chris !! I miss you my friend!!

Billy Hart is NOT on Bitches Brew or In A Silent Way!! He is on ONLY one session included on the Complete On The Corner Sessions. That session was recorded on 6/12/72. I am amazed at how many incorrect things were said on this video which are factually inaccurate.

Jack DeJohnette played with Trane TWICE, not just once.

Tony Williams DID play with Trane. He played with the quartet on at least one occasion with the classic quartet.

Tony also came largely from Max Roach.

There's another term for the gap you are referring to regarding Tony; it's called a BREATH in the phrase/time. This happens ALL THE TIME in classical music, and NO it is absolutely NOT incorrect time! It is LIVING and BREATHING Time! Ironically, Tony Williams is one of the most METRONOMICALLY CORRECT "jazz" drummers you would ever find! If you analyzed Tony's time against a metronome or computer you would find that he was far more metronomically accurate than almost any jazz drummer of his time and preceding decades. Tony CHOSE to put that breath in the phrasing, because he was such an incredible MUSICIAN that it made the MUSIC better that was happening COLLECTIVELY, because Tony was a master ORCHESTRATOR who HAPPENED to be a drummer.

I've only recently discovered Richie. He has an incredibly endearing personality. I came across him through his video about ECM. I really like his philosophy of music and am enjoying taking in his 'Hubris' album slowly.

CHRIS !!! WE MISS YOU SOOOOOOOOOO. MUCH !!! WE LOVE YOU !!! WE ARE TRYING TO CARRY YOUR DREAMS IN OUR HEARTS

Great, great stuff, thank you for doing these interviews!!!

Great conversation, I learned something, thank you.

What do you mean, Tony "wasn't a real revolutionary?" That has to be one of the dumbest things I ever heard!!!

chris -------- miss you so much ,,,,,,,,,,,

wow !!! she is ON FIRE !!! fantastic performance !! great composition brilliant improvisation !!

regina is SO GOOD !! she plays this beautiful bill evans composition in her own way and its so GREAT !!

chris ,,,,,,,,miss you SO MUCH !!!!! i love how you play. how you are ,,,you were such a great mofo !!! you are gone ,,,but NEVER FORGOTTEN !!! REGINA ,,,,SO WONDERFUL ,,OUR LITTLE TRIO WAS FANTASTIC !!

CHRIS !!1 WE MISS YOU SO MUCH !!! YOU ARE GONE ---BUT NEVER FORGOTTEN ,,LOVE YOU

2 5

CHRIS !!! SOUNDS SO GREAT !!! WE ALL MISS YOU TERRIBLY !! gone --but never forgotten !!

Fascinating discussion! I was in my dorm room at Berklee and heard my neighbor blasting something amazing on his stereo. I knocked on the door, and asked, "Who in the world is that"? He showed me the Tony Williams Lifetime album. It was a revelation for me. And, there was a LOT of great music then. What I love to hear in music is what I call asymmetrical symmetry, or organized chaos. There's a form which remains throughout the piece, but at certain points the form becomes invisible, only to reappear as though it had never left. It has the effect of leaving the listener feeling like they've fallen out of a plane.....but they're actually still in the seat. Great players of many genre's know how to do that.

great photo and music from lieb and chris !! chris gone one year tomorrow but NEVER FORGOTTEN !!1

I prefer Chet Baker’s versions.

CHRIS !!! WE MISS YOU VERY MUCH !!!you are gone --BUT NEVER FORGOTTEN love

Illuminating...he didn't mention Thelonious in his list of essential historical players

chris !!!! miss you so much !!!!!! love you ,,GONE but NEVER FORGOTTEN

CHRIS !!!! miss you so much !!!! you are gone but never FORGOTTEN bro !!! love you

CHRIS !!!! miss you brother !!! love

i really miss chris !! such a great guy and wonderful drummer ,,,GONE --BUT NEVER FORGOTTEN

Hi Christian. I'm working through a Tony Williams series of my own, talking about his concept. Concept to practicing drums and my interpretation of his conceptual approach to the drums. I love these videos you have here. I'd be interested to hear your thoughts on my interpretations of the Tony Williams concept applied to drums... There's four parts at the moment. Parts 3 and 4 are a brief spoken introduction and then demonstration. Hears a link to Part 3 (playing double strokes for long periods) czcams.com/video/m6Z4KTSr-VI/video.html Thanks a million. Greetings from Australia. Jonathan

Christian ! Miss You !! Best drummer !!!

Warum Sonnenbrillen?

my tribute to Richie Beirach 's music czcams.com/video/LlJp115K3Cc/video.html

I've just gotten into Jazz and specifically Tony only a couple months ago. Listening to these conversations between you two ignites a passion deep within me that inspires me like nothing else has. Thanks guys! I love listening to these.

Tony Williams ,beautiful amazing player🙏

love it!!

still love it!!

love it!!

Such a cool conversation! Nice topic. I was thinking a lot about this. In Poland people use a term „Polish Jazz”, there is also a label „Polish Jazz”.. there are some examples of musicians who mix polish folk music with jazz and I guess we can use this term to describe their music.... but most of „polish jazz” is interpretation of american jazz played by polish people. Thats it. I like what Richie said. There is good jazz or bad jazz! Thats it! I enjoyd this conversation a lot. All the best!

thank you for this!!

The way they talk about bebop like it’s nothing. They talk about swing but what about Bebop rhythm? Hitting it with the comping and drums . A video on my channel called Jamming the Blues at Smalls . Hear the pianist on that hitting the rhythm. I used to hate the Miles band with Tony but now admit I love it . But it’s all evolution. Tony wasn’t a great funk drummer though but he was the greatest. It’s all good

Great conversation but I never see this Drummer’s lips move! 😂 I first saw Tony at the Vanguard in the mid 1970’s. This was around the time of the Album The Old Bums Rush. It was the first time I saw him use his big yellow Gretsch kit with the 24” bass drum. Anthony Jackson was playing bass. I sat in the upper level of the Vanguard to Tony’s left of his hi hat to watch and listen to him. I use to sit there whenever a drummer I liked was there and I was able to sit there. Seeing Tony was a great inspiration for my drumming but also so many other drummers too. Thanks.

oki doki .... interesting. i usually kind of go with contrast. and kind of focus on FIRST and LAST song and than fill in the others ....... about FIRST SONG albums .... SOMEWHERE BEFORE keith trio with a bob dylan beauty at the start. and THAT album has a BAND SOUND but contrast in styles. THE JIMMY GIUFFRE CLARINET als has very different styles. first tune solo clarinet blues. and last group piece ends again with jimmy alone and the foot tapping. magig bookends-style. and inbetween even with different styles, it all sounds like giuffre. ... so i guess if it is SAME musicians and kind of same composer or arranger, you can even say IT ALL IS ONE, even if contrasting styles exist. if it would be two groups, that is different. if you do reaaaaallllly 2 different styles with a trio like play jobim bossa nova songs in brasil style and the other songs are free-stuff-style with albert ayler songs .... makes no sense for me to out that on 1 CD. .... so i am sure what you call here contrasting styles is perhaps just different shades and directions, but holded together by THE GROUP sounds and taste and similiarities are more there than jobim/ayler contrast. so i still believe in contrast as much as possible as richie says, cause it keeps you interested. tension release style. ........ and in my opinion FIRST SONGS not necessarily tell you about the rest of the songs. the group sound tells you. not the style or composer etc. richie´s EON starts with NARDIS the only not original composition on the album. and albums with really similiar style and sound in a more tradition jazz context have usually only the contrast by intensity or /fast/slow. which is super great and easy to handle as the order. and usually not a ballad first. and the big tradition albums are also around 40-45 minutes and usually have one ballad. DOING ALLRIGHT from dexter has YOU´VE CHANGED and SPEAK NO EVIL by wayne has INFANT EYES. and these ballads never come first or last.more modern PERFECT albums like the ones i mention is for example the QUEST album which has kind of 2 ballads. and even another ballad. a long 1st and 2nd part of ELM before contrast in the improv-style. and it ends balladish and mysterious with ornette. but i would say they would have not put a ballad first on the LP. ....... if CD of yours is out, you should put the LINK in here, so people can check it out. about order. ............ order now one of the maaaaaaaany vinyls and CD´s with richie out of my shelfs and go into music before the night starts. ....... hope there is a start in 2022 to hear richie again in berlin. perhaps he remembers me, jazz pianist andreas schmidt, playing a-trane often. we met with lieb a few times over past 30 years ..... all the best to richie ! his music inspiration and taste is in my everyday piano playing a part of me. ........ thank you ! ...... byeeee .... andreas MAY 2021

Were those Dream Bliss hi hat cymbals at 3:05? Haha sound exactly like mine

Hey Christian. I really enjoyed this discussion. There is a Tony Williams clinic on YT (audio only ) where he talks about the left foot. It is my understanding that it started as a rocking motion, then through repetition became smaller in movement, maybe flat footed and then the four beats. An evolution of sorts. I'm not sure that this was a conscious innovation but more a natural one.. But not sure. You've probably experienced this when playing 2 and 4, particularly up tempo, a relaxed left leg starts to fill in the space. Once you're aware of it you can kind of just let it happen.. But hey, not sure... Cheers from Australia.