07. november 2006

An essential quality of the jazz solo is the sense it conveys of forward movement through time, which is the result, I think, of the jazz soloist’s role in even the simplest contexts—establishing and revealing his identity. In the typical rock solo this kind of forward movement rarely occurs. Instead there is an amount of space to be decorated, with the emotional curve (excitement to ecstasy) a foregone conclusion. That’s why many jazz listeners find rock solos boring, no matter how well played. They’re like someone brought up on Beethoven who listens to a raga and says, “I dig the rhythm, but we’re going around in circles. Where’s the development?
(Down Beat, 1969)