Yes, he is.

c un homme qui maitrise son art hajhaha quel plaisir de l'écouter et i had the chance to ear him in the arena of vienne in my country... is he a genious? may b when there is so rarely a so good sound in ears today

ca me fait penser un peu à weather report et jaco pastorius

DR DRE

@@jeremymatho3593 Fish and Chips

Nonesuch Records Is there anywhere to purchase this concert on DVD? Have the album, love it. These videos are great, I would love to be able to watch this whole concert.

Si!!

James Staubes It's a Dave Smith Evolver.

if the first chord is tonic then the second is III, I'm like 85% certain

Here are the chords: Emaj Cmaj7 Db7#9 Fmaj7sus2/Eb Abmaj9 Cmaj7add6

Haha DVD, I remember those.

Great for the 20 Ft projection on my screen! Dont knock DVD for quality music sound either

Very good question...blue ray 5.1 would be incredible

I find it a little more Minor myself!

With those old syths, you can build the sounds up as you play them and tweek them in real time. By the early 80's you could easily save patches, but you would often use those as starting points. Some of those patches you'd create would have long sweeps of sound and long envelopes so the sounds would naturally change as you held them. It is a nice way to acquaint yourselves with the elements of sound synthesis to play with one of these. You lean a lot.

sounds like fun!

It's a Prophet 08 and a Moog Little Phatty, which are pretty new (late 2000's). I own the Moog and the sounds are not hard to program, and it saves up to 100 patches. I'd say he gets the sounds he likes but he doesn't play very much with the modulation and tweaking possibilities (he does a bit of this on the Prophet before going to the piano). They might only be initial patches manipulated, and they are quite easy to recreate.

These are analog synths. The fun thing about it is that they're fairly easy to program and you can create sounds WHILE improvising.....in the seventies they had no preset memory, so the synth had to be tweaked realtime. Analog synths revive these days because we found out they are real organic sounding musical instruments. In the seventies and eighties they were kind of "misused" for replacing expensive orchestra's. Now they are used again to dive into the unknown looking for new sounds and ways to create music as intended by founding father Bob Moog.

Eigenzinnige en rustgevende muziek. Maar enkel voor een beperkt publiek. Een opzwellen naar een climax, en dan terug naar af enz. en een zweverige stem erbovenop (cfr Pink F.) zouden al een pluspunt zijn.

Pascal Mortier a voice would ruïn this piece of art. This is ment to be without a voice

playing jazz for 20+ years where have you been

Luke Knopp 20 + years? Guiliana's first studio recording was in 2003.

Mark was born in 1980 & Brad in 1970.

I made a ring tone almost 98% same

100% agree with everything you said. It seems like maybe they rushed to the studio to quickly before getting to know each other's playing better. Plus, a few tunes are total duds, as you say. But when they're good, man are they good. Saw them last week in Paris and was absolutely floored with the performance, especially Hungry Ghost. Excited to see if he continues to go in the direction of electric stuff, whether with this duo or a more full ensemble.

I've said the same thing often and loud! It's not to me so much that these performances are better as much as they just SOUND better. This to me is one of the most beautiful live recordings I've ever heard. The official release is overly compressed, leading to it's rather lifeless sounding mix. The ultimate caveat though is that it's still a great album!

how on earth is the spoken word stuff irrelevant? the album is called "taming the dragon". the first track features mehldau explaining in detail where the title came from, and all the other spoken word stuff on the album relates to that. So it is kind of totally 100% relevant from an objective standpoint....personally I thought it was awesome...it's kind of a concept album about dreams and self realization and evolution of creativity and yada yada. it wouldn't be the same without all that awesome dream jargon now would it

Robin Payne Actually, it would be better without the dream jargon. Concept album... I'll buy that. That's fine if that's what the artist wanted to make. But I'm not the only one who thinks the spoken parts are total fluff. The record would be completely as good without the entire first track altogether. As a matter of fact, the musical parts in that track are even bad when you listen to how well composed the remainder of the album is. Not sure if you're really a jazz guy, or a music guy at all for that matter, but those wordy parts are just stupid, and Mehldau sounds like a complete dunce when he's saying it. People come to this album and expect the astronomical quality of progressive jazz they're always gotten from Mehldau on other efforts. They get that, but they get that bit of fluff too, unfortunately. Utterly unnecessary crap on an otherwise really interesting and listenable contemporary jazz record. I think I recognize your name and pic... you're that jackass that ripped on those live Pat Metheny recordings on here and got your ass reamed by everyone for it, no? Was that you? If not I do apologize, but you sure look like him.

Ben Pryor​ I, for one, thought the narrative was pretty cool of him to both write and recite! Way to push boundaries!

+Joshua M Rosenau No, it's closer to the Buddhist concept of the Three Fires, otherwise known as the Three Poisons. Namely Anger, Desire and Ignorance, although here they are partially addressed. Nevertheless, a fine philosophical narrative.

I guess.