Interesting mix between synthish and more real jazz. I think the solos are wonderfull and alive. But you need to be more strict with the timing. I know its hard being both rhytmical stringent and improvisational on a keyboard. But the bass and drums need to be played more exactly, so they correspond and communicate better with eachother and the soloinstruments. Right now its a little too obvious that this stuff was not played at the same time.
Besides from the timing - its wonderful.
You got know probs with chordworks and solos. Just got make it tighter.
I love it, it\'s like American Idol, only different.
I think the abuse of the samples on solo lines, unnatural glisses and all that stuff is way cool. Love it. I think the mix is not good, the solo lines are all so up front that the rest of the structure gets subdued. Try turning down the volume way low, and all you\'ll hear is the solo line. That\'s a really valuable mix step, to listen at extreme soft levels and make sure everything is still there.
I think the thing I\'d say from a producer\'s perspective is to push the envelope a bit harder. I agree with Sharmy that this is an interesting clip, because it\'s not really clear where you\'re going. I don\'t think you\'re limiting yourself to strictly imitative synthesis in the way you\'re manipulating the solo lines, but the whole percussion and comping structure is very traditional. On one hand it\'s an interesting juxtaposition, but on the other hand, you have to ask yourself if this is the foundation upon which an album will stand (if you\'re going that direction).
That\'s probably the long way of saying I\'d maybe take the brakes off a bit more and freak out some aspects of the rhythm section to match the solo lines. Good luck.
Arp, I have to go with the consensus here. Great concept, needs tightening in the rhythm section, but perhaps a bit more open piano. Solos aren\'t too loud, rhythm is too soft!
Focus on one solo instrument and develop it further. Better one great solo than four interesting but not evolved solos. If you really need or want multiple solos, make each have a real, clearly evolved statement. This is true whether it\'s bop or Archie Shepp.
if you want it to sound real (like perhaps rhythm) think like the instrument you\'re playing. If you want it to be outside, that\'s cool, but if you want to convince us it\'s a real horn, don\'t do something the horn can\'t do. If you want it to be \'anything goes\' that\'s cool too, and equally valid, but in either case, try to keep an internal structure to the improv. Find some late Trane, or Sonny Simmons, to hear what I mean by outside but organized.
But above all, do more of it! And be sure to post it here...
As an extension to Joanne\'s question, could you say a bit more about libraries/instruments used for the leads? I think this is one of the best sequencer/sample solutions of this type of music I\'ve heard so far.