Friday, 9 March 2018

Kromolodics #2 It Don't Mean A Thing vs. Cherokee

  This is a more advanced Kromolodic puzzle: Ray Noble's 'Cherokee' is 64 bars long, moving a semitone higher in the third 16 before working its way back to the tonic key. Duke Ellington's 'It Don't Mean A Thing If It Ain't Got That Swing' is a typical 32 bar sequence resolving in the same key, but beginning on the relative minor. In a Kromolodic improvisation the player would have to reconcile the double length form of Cherokee against the Ellington sequence. Taking things a stage further, it is interesting to try the first 16 of Cherokee and the bridge simultaneously, together with the sequence of It Don't Mean A Thing. In a perfect Kromolodic solution each cadence of (all three sequences!) would be referenced, the musical essence and polarities of each tune would be retained, and the line would work if either tune were played straight by an unsuspecting band:

Kromolodic Line: It Don't Mean A Thing versus Cherokee
  Studying Ernst Levi's Negative Harmony, Ornette Coleman's Harmolodics, Lennie Tristano's techniques of rhythmic displacement and side-slipping, and also John Coltrane's Giant Steps substitute progressions will all help to visualise how Kromolodics works. The fact that Sebastiaan De Krom, a drummer, invented this technique is absolutely key here. The drummer feels the rhythmic and harmonic polarities heading towards the important junctures of the tunes, and all the musical forces converging at these points. As a means of generating interesting melodic lines Kromolodics is exciting and compelling, and has all sorts of implications across the board.

  The late, great free jazz trombonist Albert Manglesdorff showed me at a class some years ago how he sometimes visualised imaginary chord progressions, as an alternative to playing 'free'. Hermann Hesse's novel The Glass Bead Game, beloved of composer Karl Heinz Stockhausen, is a fascinating book about examining seemingly unconnected elements and finding commonalities. Kromolodics is a very new art with all sorts of interesting applications. It remains to be seen how far improvising musicians will be able to take it.

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