They are all credited on the CD, which is called ‘Synovial Joints’.

It’s ancient Egyptian. It means something like ‘Sacred Words’ or ‘Divine Speech’

​@@mbaseconceptsthank you. Makes sens!

Why? I don’t understand. What does this have to do with liking or not liking Wynton? He is an exceptional and excellent musician.

@@mbaseconcepts Wynton is actually mentioned in this video - in a manner which is very complimentary to yourself! 😁

What??? No way!

@@mbaseconcepts I didn't mean that statement to be offensive. My apologies!

I’m not offended. I like Zappa’s music. And I like his spirit. I’m just not influenced by him, and I don’t think this sounds like his music.

@@mbaseconcepts OK! But for the record: I wasn't implying you were influenced by his music -- just heard some similarities . . . especially with some his later insrtumental pieces. Peace out.

Not yet. Thanks for the props. And yes, she is fine!

@@mbaseconcepts I'm turning everybody on to the Steve Coleman and Five Elements (LIVE) -- the video with the big drum solo. The music and the drums are OMG!!! kzbin.info/www/bejne/pV6kfXqBh8uNhJY

Thanks for continuing to bring forth honest music to the world!

It IS how I played. It’s a spontaneous composition that was later orchestrated. All of the other parts were also created spontaneously.

@@mbaseconcepts I believe you! When I hear you play your alto (without accompanyment) it reminds me of this composition (among others). And yes, you have an unmistakable "voice" in your tone, your paying, and your writing. You are a musical force!

I’m trying. Thanks for checking out the music. We really appreciate it. 👍🏾

@@mbaseconcepts Been checking you out since the 80's. You continue to grow artistically in so many ways. Thanks for the inspiration. FYI, I just bought a Selmer SBA alto (circa 1949} that is nearly mint and sounds sweet as sugar. I'm psyched.

Thanks for the props!

Hmmm, I have not heard those. Do you have any links? Thanks.

I don’t believe that these people that you mentioned are doing the same thing. I feel that Lamar in particular, from a purely musical perspective, is much closer to the popular music world. His music is more about the social commentary, rather then reshaping the musical language used to support that commentary. But this is only my perspective. Glasper, being that he is an instrumentalist, is closer in some ways. But I believe that he is emphasizing different things musically. It’s difficult to talk about music in words, but much of my focus is on using music and musical structure much in the way that we use gesture, symbols and spoken language - as symbols to express ideas. Sure, we are all doing this to an extent, but I don’t mind (in fact I prefer) to bend and mode the musical shapes (sometimes drastically) in the pursuit of expressing any ideas. I’m definitely not concerned with creating popular music, in the hit making sense. What has always interested me is the shape and process (movement) of the musical language itself, and the ideas (increasing more esoteric, but I always leaned in that direction) that the moving musical shapes are communicating.

What weaknesses are you referring to? You transcribed the entire orchestration, harmonies, rhythms and form included, or just the melody.

@@mbaseconcepts Melody and harmony. I have not started on the rhythm part. I'm still in a state of shock. Admittedly, the rhythm model is what attracted me to your music even back when you were playing with Dave Holland. the Weaknesses i speak of has nothing to do with you or your music.. This weakness in my own thinking!! This head is changing the way i approach evolving or de-evolving an idea. The other thing I love about the melody here is that it reads like endless permutations on the opening statement made. Its heavy. I'm realizing I need to think more along these lines with any and all melodic ideas i come up with. Even if it doesn't sound right to my ears. And thats the hard part. because if my ears don't like it, they tell my brain to 'ignore' or 'not remember' what i just played. thats the big fight I'm facing right now. Or, a better example. I have the Nicholas Slonimsky book of scales and melodic patterns. I would open that book and play a few pages and couldn't get past a few pages of it because it sounded like Dirty Work to my ears. Sounded like he just wrote random notes and $hit. But I know thats not the case. You know? So, your opening me up to understanding the greatest fight i have ahead of me is my own brain. Heavy indeed.

@@mbaseconcepts EDIT: Realizing ive already made a huge mistake in my approach to transcribing this. Because the Bass and what i believe is a Guitar doubling the bass...... I should have started from the Ground up. Dang.

@@breakfastplan4518 The guitar is not doubling the bass. They are playing 2 different parts that are also in different rhythmic cycles. Both parts are based on the concept of heartbeats.

​ ​ @Breakfast Plan OK. I think I understand you. I'm not sure if you realize this, but the entire melody is a spontaneous composition. Most would call this an 'improvisation’, but I call it composition because that is what it is, and that is how I intended it. Composition is the deliberate placing of elements together. It not a random skill, it is intentional. The great Chicago saxophonist Von Freeman told me many years ago that his goal was to play a musical expression that he had never played before, without practicing, and play it the first time exactly like it was in his mind - rhythms and pitches. No mistakes, no editing, no playing only patterns, just original musical statements. This is what I have been working on for many, many years, ever since Von told me this. On my last (Functional Arrhythmias, Synovial Joints, Morphogenesis, Village Vanguard Live - Volumes 1 and 2), virtually every composition was created like this, including ‘Harmattan’. I did not compose this with pencil and paper, and I didn’t notate it first, I transcribed the first melody that I played, using the closest notation I could that represented what I played. Using the first melody as a ‘cantus firmus’, I then spontaneously composed all the other parts against this, rhythms included. The harmonies are the ‘result’ of the combinations of melodies and rhythms - mainly guided by the tonalities that were in my mind when I played the very first spontaneous melody. So if you hear any thematic unity, it’s because this was all played at once, and the way I play anyway is based on musical sentences, a kind of linguistic approach. I think more about sentences, punctuation - stuff like that, than I do about thematic playing. One other thing. I don’t think in time signatures or think about time signatures. I don’t talk in 4/4, 3/4, etc. I think about musical phrases, and their relationship to other musical phrases.

Where is this video (time stamp) are you referring to? You need to ask your question in more detail. Maybe you don’t know this, but the entire natural tonal system is a spiral. But I imagine that this is not what you are referring to.

@@mbaseconcepts I'm not referring to anything in the video. I thought that if I asked the question here, it would be seen by others who potentially would be able to point me to an audio example, which I've been looking for for years. Actually, between now and the time I wrote the first post, I was entering some of the examples from your Symmetrical Movement Concept into a sequencer. I never dreamed you (I'm assuming this is Steve) would be the one to respond, especially so quickly. Don't let me take you away from your holiday! Thank you so much!

@@effsixteenblock50 No problem. This is Steve, and I don't celebrate Thanksgiving. So you mean the spirals in the symmetrical movement theory. What's your question about this exactly? The more precise the question, the better I can reply.

@@mbaseconcepts Hi Steve, I also don't celebrate Thanksgiving, likely for similar reasons. I guess what I had been ideally hoping for originally was a recorded example of you "working" the Symmetrical Movement Concept, something like, "Here in (insert song title here), between 4:03 and 4:17, the utilization of the Symmetrical Movement Concept can be heard." I realize that when playing actual music, the goal is not to put musical devices on full obvious display, but to seamlessly integrate them. From further investigation, it seems like the utilization of the Symmetrical Movement Concept doesn't have an overt sound signature, in that one can go in so many different directions with it in an instant, so my request for an audio example might be unrealistic. I really appreciate your time Steve!

@@effsixteenblock50 You are exactly correct. I don't use any "theory" in actual performance exclusively. I don't play according to theories, I'm trying to express or communicate something (usually a non musical idea) and the theories and other things that I develop are just tools. I give examples on my website, that's the closest that you are going to get to what you are asking. Maybe the melody of compositions like "Pad Thai" or "9 to 5" uses it more than some compositions. At this point it's totally integrated, so I don't think about it much. It DOES have a sound though, and that's the point, moving shapes that produce certain tonal areas. I can't get deeper without giving actual lessons, as this stuff takes demonstrations.

Well, any part of it that you can do, even a short section, is of benefit to your mind (and brain).

Thanks for the props.

what is your email and user name?

Hello any update

I cannot find you until I know more information. What is your user name or the full name that you registered with?

@@mbaseconcepts hello, the problem is i couldn't even register. Everytime its showing email field is mismatched after that i tried with a different mail id. Its showing the same

@@alwinjoseph2334 The email field must be showing somewhere. I have thousands of people who are registered. You need to give me more information. You did not register with the same name that you are using here, so how can I find you? Are you Joseph DiMilia? Are you Joseph Freund? These are the only two users with the name Joseph. What email did you use (or are trying to use)? You need to give me some more information, otherwise I cannot even find your attempted registration.