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"In 1987 John Zorn, George Lewis, and Bill Frisell were all members of New York's thriving, conceptually-minded downtown scene. They approached the Blue Note material with a considered artistic agenda - to test its capacity for tolerance of outside techniques, and to critique bop's ethos of individuality, which required many of its practitioners to trade a life of penury and exploitation for the chance to attain individual expression on the bandstand."-Bill Meyer
More News For Lulu
"In 1987 John Zorn, George Lewis, and Bill Frisell were all members of New York's thriving, conceptually-minded downtown scene. They approached the Blue Note material with a considered artistic agenda - to test its capacity for tolerance of outside techniques, and to critique bop's ethos of individuality, which required many of its practitioners to trade a life of penury and exploitation for the chance to attain individual expression on the bandstand."-Bill Meyer