Posted: Fri Jul 25, 2008 5:04 pm
I once read where back in the 1960s whole groups of Japanese music affacianados quit going to concerts because the musicians made mistakes! Egads!
Seems that growing up in Japan and being semi-isolated, the Japanese music lover's only knowledge of Western sound were recordings. So they just assumed the New York Philharmonic always played perfectly. They never considered that Leonard Bernstein would make the orchestra do 22 takes to makes sure the adagio was perfect. In the 1980s half of an audience in Osaka got up and walked out on an Itzhak Perlman concert because . . . he broke a violin string and had to take a break to fix it.
I know as a kid we were mesmerized by all the great jazz stuff that was around in the '70s and many of the greatest were still alive and touring. We'd go see Gerry Mulligan or J.J. Johnson and all raise our eye brows at some of their improv and even occassionally the melody. They were far from perfect.
So, it makes me wonder if Wooten got this right the first time or if it's the result of 18 hours in front of the camera?
Seems that growing up in Japan and being semi-isolated, the Japanese music lover's only knowledge of Western sound were recordings. So they just assumed the New York Philharmonic always played perfectly. They never considered that Leonard Bernstein would make the orchestra do 22 takes to makes sure the adagio was perfect. In the 1980s half of an audience in Osaka got up and walked out on an Itzhak Perlman concert because . . . he broke a violin string and had to take a break to fix it.
I know as a kid we were mesmerized by all the great jazz stuff that was around in the '70s and many of the greatest were still alive and touring. We'd go see Gerry Mulligan or J.J. Johnson and all raise our eye brows at some of their improv and even occassionally the melody. They were far from perfect.
So, it makes me wonder if Wooten got this right the first time or if it's the result of 18 hours in front of the camera?