Tension and release. The diminished piano creates the chaotic life that the lyrics imply to numb or escape from, therefore resolving. Yes, The Bad Plus are often quite Avante Garde. But this one is pretty straight forward. Tension and release. If you don't understand that then just go listen to the original, it is great in its own right. Don't mock someone else's art just because you refuse to understand it beyond the surface.
'horrible'? you're kidding, right? you may not be able to let go of the classic version set in concrete in your mind, but it's a great interpretation, played absurdly well. as a bass player who sings lead and plays it straight on this song in an excellent cover band, i love the bass player here. the whole thing has a fantastic feel, and respects the original in ways that most cover versions don't. possession of a 'submit' or 'comment' button doesn't make either of us 'right'... just public.
Teary-eyed and anything but numb. That is some unreal ride hits from 1.16 to 2.47 and then on to the snares.......so many levels to this rendition, it gives me chills all over, yet warms my heart at the same time
the highest compliment a cover can pay to the original is to make it excellent and to understand and translate its spirit. that is done here. most excellent. this is fucking awesome.
I used to think this song was written for Syd Barrett as a reflection of his life. I don't know if that's true, it doesn't really matter, but I think The Bad Plus does an amazing job at breathing new life into this song. The tension and concluding resolution that the pianist creates over the latter half of the tune contrasts the simplicity of the pop song. In doing so the lyric is aptly stated. Music majors will understand this renaissance term, which I think this pianist is creating: word painting.
What a truly interesting and unique interpretation of this song. Seriously this is pretty impressive and admittedly messes a bit with my mind. Having grown up on the original, this is really different. All in all a highly entertaining arrangement! Well done Bad Plus. This was my first exposure to your music, and WOW!
I've only heard two solid versions of this classic tune.. the original classic and now this instant classic.. My music loving God sent me out on about 9 months ago on researching my rock and roll heroes and who else is crazy enough to be thinking in the brain.." I wonder what it would sound like if we come out on the stage with a slow jazzy version of Comfortably Numb and just freak'em all out". I was a fan from the first drum beat.. love both bands differently but much respect for pulling it off !!!🎉🎉
Whatever, I LOVE what you all have said and posted several of your comments to my FB page, along with this Master Stroke, to a Cover. However, the 'Goosebump Test' lasted 60 sec. or more? and longer than at any time in my life and came in 7 or 8 or 9 rushes. W H A T E V E R !!!!!!!!!!!!!!!!!!!!!!!! I still feel them. And this PERFORMANCE. And I feel you all, in what you've said, too. ....Whew....whatever........................................
lovely. always a new experience with tB+ I like the silent space after "there'll be no more" ... whether intended or not, seems to suggest the noise in your head goes here. Love the arrangement.
I am not always a fan of Iverson's playing, although I find this arrangement to be very effective. His solo was a very odd statement, and taken on its own probably is not much to write home to mother about. But I loved the way the ensemble made this sudden turn, offering Iverson a special space to drop something really dark in there. Call it an Iverson Inversion. Clearly, one can take issue with the dissonances. But what's more, the dissonances sort of scorch through any comforting numbness one may be feeling. Also the chromatic grace notes he does do not lead anywhere, but are just their own awful statements --- sticking out like sore piano hands. Is this an ironic meditation on pain and numbness? Later, when he plays those washes of diminished scales (or whatever they were) over the chorus, we sense an irritation rather than a calming numbness. It is curious that Iverson makes the final statement in this arrangement, faithfully stating the original harmonies of the song. Overall, the arrangement was well thought out, and I think redeems, or makes good use of Iverson's idiosyncracies.
But that would be YOUR choice of how to respond, not mine. I don't respond simply by liking or not-liking. My responses are mixed. Also, while I do not expect an intellectual or verbal response to art is necessary for appreciating it, and even doing so very deeply, I reject anti-intellectualism, as well as the notion that criticism has no place or no function --- since presumably taste is a personal matter and not open for debate. I don't agree with this over-simplification. I am not here to debate so much as to explore not only the work that I am hearing here, but my own responses to the same. I reject the closure of my explorations which I associated with making some kind of final pronouncement or judgement on the Bad Plus ---"I do not like it." My response is more "I'd like to like it more than I do." Something is getting in the way. What is it? When I ask this question sometimes I get lobbed softballs such as, "You don't like the dissonance." Certainly that is not the problem, as I listen to all kinds of dissonant stuff. Anyway, thanks for responding.
Hi. I assure you, I'm not an anti-intellectual, and enjoy good criticism. In this particular case, though, take away the wordiness and misguided attempts at harmonic analysis, and you have nothing more than a long-winded "I don't like it". The criticisms are, as you say a matter of taste and there is little subtance with which to engage. "Dissonance" is too broad a description to be useful, given that several decades ago the music's harmonic language progressed way beyond simplistic notions of dissonance and, er, whatever the opposite is. Specifically, the crushed notes in the solo that he refers to are not even dissonant, to my ears, they are the jazz equivalent of grace notes and sound cool to me. But I doubt anyone is that interested in my reaction, hence my pithier original post.
But "I don't like it" is NOT at all what I am saying. I went through a whole journey, my taste being one of the moving targets shot through with Iversons musical stabbings. I am skeptical of musical listeners who seem to pride themselves with being oblivious to dissonance. Yes, tolerating more intervals is the natural evolution to hearing these things, and history bears this out as well as more intervals found their way in musical practice. But I want to enjoy those sounds, but also have the capacity of registering disturbances. I guess I want to have my cake and to eat it. I want to have innocent ears as well as experienced ones. What you call misguided harmonic analysis is actually an attempt to step away from analysis and of knowing what things sound like because of what we call them, and to hear something affect me innocently. It is a bit of a trick. I am not a young man, nor an inexperienced listener. But I try to be both despite my age. What you are reading is an attempt to stay young and capable of being shocked. Not sure how convincing it is to a reader. But I feel my aim is true.
To my ear, the dissonance is most pronounced starting at 5:03. This is also the height of vocal harmony between Anderson and Lewis. They are belting through the chaos of the piano. I feel like the piano is giving them something to work against. It heightens the intensity of their voices. Also, numbness doesn't mean harmony. Numbness can be a confusion, a blurriness, a disorientation.
Pretentious wielding of expert level playing. Clearly all very talented musicians. Just because something is technically difficult does not mean that it is technically good. That diminished playing from the piano is an eye-roll in auditory form.
Where are those 1000 thousands dislikes for your complain ? I have no doubt ... You are addict tonal systems ! Your acoustic hearing turns around the cicle of fifthies and any chord or melody outside this , you freaking out. Slow down and enjoy dude.
I can appreciate the effort put into this but I don't care for this cover of comfortably numb. They have butchered the hell out it. Like I said, I can appreciate them putting the time and effort into this. I'm glad to see there are some positive reviews however.
Did I’m sorry. I’ve fucking tried. Jazz sucks. It absolutely sucks. The wrong notes. The wrong fucking notes. Nah man I already know I just don’t “get it” but I’ve fucking tried!!!!!! HELP ME UNDERSTAND?!????
If you don't understand it, and don't like it, that's OK. We've all got different musical preferences. I know many people who think jazz is just weird, and i fully understand them. That's the beauty of music.
There are no "wrong" notes in music. I get that you want simple chords that have typical melodical compliments, but that's not all of music. Not even close. That's just pop. Other genres of all kinds dive into dissonance. Maybe you need to listen to more classical music to get a grasp of what music *really* is & where it was pushed forward. Jazz draws so much from classical music, probably more than any other genre. If you can grow to appreciate a wide variety of classical music, you can learn to love most any other genre out there.
Beautiful until the diminished pain scales came in. Jesus Christ I think their Pianist fucks up every song they do by needlessly plunking the diminished scale right in the middle.
Goosebumps all over... never heard a better version of this song... and there are LOTS, good ones as well.
This is brilliant!
Tension and release. The diminished piano creates the chaotic life that the lyrics imply to numb or escape from, therefore resolving. Yes, The Bad Plus are often quite Avante Garde. But this one is pretty straight forward. Tension and release. If you don't understand that then just go listen to the original, it is great in its own right. Don't mock someone else's art just because you refuse to understand it beyond the surface.
You said it best, gentleman!
Perfect description! Great version, I cry with the original and cried with this one.
my god!! the piano!!
he knows -
he friggin' just knows!!
I just got wicked chills from the piano -- HE KNOWS!!!
I really dig what Orrin brings to the group these days but man, Ethan is no joke. Dude just has it.
'horrible'? you're kidding, right? you may not be able to let go of the classic version set in concrete in your mind, but it's a great interpretation, played absurdly well. as a bass player who sings lead and plays it straight on this song in an excellent cover band, i love the bass player here. the whole thing has a fantastic feel, and respects the original in ways that most cover versions don't. possession of a 'submit' or 'comment' button doesn't make either of us 'right'... just public.
Who ever wrote, it was horrible, just didn't "get" the piano ;-)
Stunningly Beautiful, pulls you in, moves you, you want it to keep going, Just wonderful
Cant think of a better Floyd cover offhand. Beautiful.
A daunting piece to imitate however well executed with talent and respect for the original. A worthy rendition indeed!
Wendy: There'll be no more
Me: Ahhhhh aah aaaah
Wendy: but you may feel a little sick
Teary-eyed and anything but numb. That is some unreal ride hits from 1.16 to 2.47 and then on to the snares.......so many levels to this rendition, it gives me chills all over, yet warms my heart at the same time
That end. Past: "When I was a child / I caught a fleeting glimpse" it's marvelous.
the highest compliment a cover can pay to the original is to make it excellent and to understand and translate its spirit. that is done here. most excellent. this is fucking awesome.
I stumbled across this just now. it still playing. what a great band. that byode got me here by accident. I thank you Sir
I have been listening it for last 6 years. Keep up the good work 🔥🔥
I could listen this every second of my life
I used to think this song was written for Syd Barrett as a reflection of his life. I don't know if that's true, it doesn't really matter, but I think The Bad Plus does an amazing job at breathing new life into this song. The tension and concluding resolution that the pianist creates over the latter half of the tune contrasts the simplicity of the pop song. In doing so the lyric is aptly stated. Music majors will understand this renaissance term, which I think this pianist is creating: word painting.
He didn"t write this one
What a truly interesting and unique interpretation of this song. Seriously this is pretty impressive and admittedly messes a bit with my mind. Having grown up on the original, this is really different. All in all a highly entertaining arrangement! Well done Bad Plus. This was my first exposure to your music, and WOW!
I've only heard two solid versions of this classic tune.. the original classic and now this instant classic.. My music loving God sent me out on about 9 months ago on researching my rock and roll heroes and who else is crazy enough to be thinking in the brain.." I wonder what it would sound like if we come out on the stage with a slow jazzy version of Comfortably Numb and just freak'em all out".
I was a fan from the first drum beat.. love both bands differently but much respect for pulling it off !!!🎉🎉
dave king is a genius or a maniac, or both, I'm not sure
he's both actually
Yup, a healthy combination of both.
Whatever, I LOVE what you all have said and posted several of your comments to my FB page, along with this Master Stroke, to a Cover. However, the 'Goosebump Test' lasted 60 sec. or more? and longer than at any time in my life and came in 7 or 8 or 9 rushes. W H A T E V E R !!!!!!!!!!!!!!!!!!!!!!!! I still feel them. And this PERFORMANCE. And I feel you all, in what you've said, too. ....Whew....whatever........................................
Thank you for this!!
lovely. always a new experience with tB+ I like the silent space after "there'll be no more" ... whether intended or not, seems to suggest the noise in your head goes here. Love the arrangement.
Mind twisting excellence!
O my gawd. This is amazing.
Just crazy good .
bravi !!!!!!!
dopo i pink,questa mancava,ottima interpretazione
How to elaborate on a track without breaking its feel and structural integrity:
The Bad Plus, it sings!
Excelente interpretação. Awesome!
Beautiful!!!
simply fantastic
Gave me so many chills...
Amazing at all...
Amazing!!!!
love the walking bass and jazz sounds contrasting with the chorus in a weird way - and I don't care for straight jazz, maybe this is a whole new genre
Love
Perfect to me. I especially enjoy the piano.
Perfect
amazing
best solo
waww beatifull
Amazing, would love to hear them do a Guns N Roses cover
love it!!
this is fucking moving my soul. thx bad +
Very nice.
피아노 반주가 라벨같네요..ㅎㅎ;;
잘 봤습니다...^^
Wahnsinn!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
jajaja de piAno man is hilarious
Bravisssssimiiiiiiiiii!!!!!!
I dont know if my ears are musically inclined enough to understand it all, but its ok!
... the first two seconds i`ve thought it`s Sade and i am wrong :D
💝💖💗💓💓💓💓💓💓💓💓💓💓💞❤❤❤❤❤❤
efsanee
The last 3minuts i explod
I am not always a fan of Iverson's playing, although I find this arrangement to be very effective. His solo was a very odd statement, and taken on its own probably is not much to write home to mother about. But I loved the way the ensemble made this sudden turn, offering Iverson a special space to drop something really dark in there. Call it an Iverson Inversion. Clearly, one can take issue with the dissonances. But what's more, the dissonances sort of scorch through any comforting numbness one may be feeling. Also the chromatic grace notes he does do not lead anywhere, but are just their own awful statements --- sticking out like sore piano hands. Is this an ironic meditation on pain and numbness? Later, when he plays those washes of diminished scales (or whatever they were) over the chorus, we sense an irritation rather than a calming numbness. It is curious that Iverson makes the final statement in this arrangement, faithfully stating the original harmonies of the song. Overall, the arrangement was well thought out, and I think redeems, or makes good use of Iverson's idiosyncracies.
You could just say, "I don't like it". Or, nothing.
But that would be YOUR choice of how to respond, not mine. I don't respond simply by liking or not-liking. My responses are mixed. Also, while I do not expect an intellectual or verbal response to art is necessary for appreciating it, and even doing so very deeply, I reject anti-intellectualism, as well as the notion that criticism has no place or no function --- since presumably taste is a personal matter and not open for debate. I don't agree with this over-simplification. I am not here to debate so much as to explore not only the work that I am hearing here, but my own responses to the same. I reject the closure of my explorations which I associated with making some kind of final pronouncement or judgement on the Bad Plus ---"I do not like it." My response is more "I'd like to like it more than I do." Something is getting in the way. What is it? When I ask this question sometimes I get lobbed softballs such as, "You don't like the dissonance." Certainly that is not the problem, as I listen to all kinds of dissonant stuff. Anyway, thanks for responding.
Hi. I assure you, I'm not an anti-intellectual, and enjoy good criticism. In this particular case, though, take away the wordiness and misguided attempts at harmonic analysis, and you have nothing more than a long-winded "I don't like it". The criticisms are, as you say a matter of taste and there is little subtance with which to engage. "Dissonance" is too broad a description to be useful, given that several decades ago the music's harmonic language progressed way beyond simplistic notions of dissonance and, er, whatever the opposite is. Specifically, the crushed notes in the solo that he refers to are not even dissonant, to my ears, they are the jazz equivalent of grace notes and sound cool to me. But I doubt anyone is that interested in my reaction, hence my pithier original post.
But "I don't like it" is NOT at all what I am saying. I went through a whole journey, my taste being one of the moving targets shot through with Iversons musical stabbings. I am skeptical of musical listeners who seem to pride themselves with being oblivious to dissonance. Yes, tolerating more intervals is the natural evolution to hearing these things, and history bears this out as well as more intervals found their way in musical practice. But I want to enjoy those sounds, but also have the capacity of registering disturbances. I guess I want to have my cake and to eat it. I want to have innocent ears as well as experienced ones. What you call misguided harmonic analysis is actually an attempt to step away from analysis and of knowing what things sound like because of what we call them, and to hear something affect me innocently. It is a bit of a trick. I am not a young man, nor an inexperienced listener. But I try to be both despite my age. What you are reading is an attempt to stay young and capable of being shocked. Not sure how convincing it is to a reader. But I feel my aim is true.
To my ear, the dissonance is most pronounced starting at 5:03. This is also the height of vocal harmony between Anderson and Lewis. They are belting through the chaos of the piano.
I feel like the piano is giving them something to work against. It heightens the intensity of their voices.
Also, numbness doesn't mean harmony. Numbness can be a confusion, a blurriness, a disorientation.
Pretentious wielding of expert level playing. Clearly all very talented musicians. Just because something is technically difficult does not mean that it is technically good. That diminished playing from the piano is an eye-roll in auditory form.
Where are those 1000 thousands dislikes for your complain ? I have no doubt ... You are addict tonal systems ! Your acoustic hearing turns around the cicle of fifthies and any chord or melody outside this , you freaking out. Slow down and enjoy dude.
Your studies have rotted your mind.
Just one word: WHY?
Because, they wanted to make the best cover of comfortably numb EVER.
You stick to listening your Nickelback, just chewing gum for the ears.
Carry on
I can appreciate the effort put into this but I don't care for this cover of comfortably numb. They have butchered the hell out it. Like I said, I can appreciate them putting the time and effort into this. I'm glad to see there are some positive reviews however.
Did I’m sorry. I’ve fucking tried. Jazz sucks. It absolutely sucks. The wrong notes. The wrong fucking notes. Nah man I already know I just don’t “get it” but I’ve fucking tried!!!!!! HELP ME UNDERSTAND?!????
If you don't understand it, and don't like it, that's OK. We've all got different musical preferences. I know many people who think jazz is just weird, and i fully understand them. That's the beauty of music.
There are no "wrong" notes in music. I get that you want simple chords that have typical melodical compliments, but that's not all of music. Not even close. That's just pop. Other genres of all kinds dive into dissonance. Maybe you need to listen to more classical music to get a grasp of what music *really* is & where it was pushed forward. Jazz draws so much from classical music, probably more than any other genre. If you can grow to appreciate a wide variety of classical music, you can learn to love most any other genre out there.
Best 1st April joke so far.
How
Philistine!
beautiful but there is too much piano......
With Ethan Iverson? Never!
No way ! Dissgree 100%
Boooring
Likewise.
Horrible!
dictu!
Beautiful until the diminished pain scales came in. Jesus Christ I think their Pianist fucks up every song they do by needlessly plunking the diminished scale right in the middle.
Harry Morris hmm. Ithink the pianist is the real star of this recording.
Not a big jazz fan i see.