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Ya gotta love a poster named "stravinsky" trying to start a riot at a forum that is already as mentally unbalanced as they come. For that alone (and that only), I salute you.
LOL!!!! 
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stravinsky, I don't see any deliberate desire to stir up trouble in your post. If you change the words "plagiarism" and "rip-offs" it's kind of interesting. But we have been down this road before. Perhaps someone could resurrect that old thread where we all discussed this. I think in the end the Fielding fans, myself included, came to the conclusion that we loved HOW he referenced Lutoslawski and others. Which I think is really what you're saying too.
The funny thing is, when I hear a Fielding score which includes nods to Lutoslawski, I'd never confuse it with a Lutoslawski recording - I'd say "that's Jerry Fielding". I recently heard a Maynard Ferguson jazz piece which pre-dates Fielding's THE ENFORCER, and it had clearly served as a template for Fielding's "Rooftop Chase". Cool dudes such as lexedo exclaimed "Wow, that's pretty cool, man", without giving Fielding a hard time for it.
But to a certain extent I must admit that when I was young and thought that film composers lived in a vacuum, I would be vaguely disappointed to hear that a piece of existing music had found its way into an "original" film score. Now I think of it this way - nobody can deny that Duke Ellington (to pick a name from the hat) was a brilliant musician with an immediately recognisable style. Do we bother that he didn't actually write all those things he performed?
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"... like a fanny...", "...fuckin' prick..." Great stories well-told there, stravinsky. I'm all geared up for my trip back tae the Auld Country this summer.
By the way, I wouldn't be so sure about Mr. Fielding's gentlemanly reactions. At least Lutoslawski didn't throw a chair at you.
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Posted: |
Jul 15, 2013 - 5:39 PM
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By: |
lexedo
(Member)
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Yes, I am very cool. Chics dig me bc I rarely wear underwear. Sometimes, my style is referred to as "Going LexMando."
I've written about Rooftop Chase before in a couple of different threads. GrahamTheMan pointed out a few weeks back that Chattaway and Maynard did a similar thing on the Primal Scream record from Wounded Bird (reissue). (As an FYI, we used to call GSW "GrahamCrax," but with all this rioting going on, "I'm not feeding that beast amigos.") Maynard was kind of disco-fying things back then. The Primal Scream take is very cool - more disco than funk. Primal Scream and The Enforcer are both 76. I am inclined to believe that Fielding and Chattaway may have sat together for this one before making it into their own respective styles.
One of the reasons I love the Rooftop Chase so much, besides all the excellent studio hands playing, is that it is vastly different than other jazz takes Fielding had done at the time. It is one of the best fusion takes in the 70s, up there w Birdland and School Days and Earth Juice and Butterfly and Great Gorge and everything else. It kind of doesn't really work in the movie, but that's my opinion. Given how unique it is compared to JF's typically "old-school Hammond funk" approach (e.g., Super Cops), after Graham disclosed the Chattaway take, I figured it wasn't "all" Fielding's writing. But, guess what? It's still one of the best fusion takes in the 70s. Period.
So, there's a thread I posted in where I compared Harry's World and Trailing Marlowe; the former being on The Enforcer as well. BTW, the two fusion pieces from The Enforcer really came to be JF's "modern 70s" jazz approach, which is excellent. Harry's World is great bc of the Fender bass and Rhodes - very excellent - the Rhodes really just doubles the bass, which I actually play now, but I haven't created charts for it yet even though it is so easy. Anyway, in that thread, wherever it is, I kind of run-down why Harry's World and Trailing Marlowe being almost the same isn't that big of a deal. Member Heath, a very knowledgeable musician BTW, supported me in his best way. (In other words, his level of musical knowledge is much greater than mine, and he was supporting my "simple" way of stating things.)
Even just the other day, Joshy made a thread about Fielding percussion. And I posted in that thread kind of late, which I did on purpose. But Joshy understood what I was getting at: that JF likely didn't write those drum lines, and that some studio drummer (viz., Bunker, Porcaro) likely had some artistic input to the final take. Big woop. And it doesn't minimize the powerful nature of the Wild Bunch's opening titles in the least.
That's the best "sloppy" post I can do on a Monday, folks. Sorry about that.
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Tae stravinsky - Ah dinnae ken yet whit ma plans ur fur the Auld Country. Ah dinnae ken if ah'll even be hittin' Glesgae, but if ah see ah'm oot that wey an' ah huvnae goat ony plans, ah'll post a message here wi' ma emilio, an' wi could hae a few jars.
To lexedo - Sweet to hear you mumbing, kinda reminds me of Brando somehow, I guess bc of the pic, but that Fielding was sure one cat, dude, man. Shed some light on the Van Alexander enigma, amigo pal? (EDIT - No sweat, bro' - there ain't no enigma, those bro's sure ain't no bro's, bro').
To everybody else - Isn't the rich tapestry of life just wonderful to behold? Everything interconnected. No vacuums, just... pure.... knowledge. That is the way ahead indeed. Love you all!
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