It is often so that musicians that use overtone singing in a jazz context chose slow tempos. The singer needs time. The different subcategories of overtone singing function more as an extension of already existing traditional sounds not evidently as a new instrument that can easy make everything that belongs to the jazz genre. Modal jazz have gives some possibilities to access it in an ideomatic way. I have tried to get around the problem with fast changing cords. The superimposing of cords is a step forward to break a feeling of tonal naivity. The fundamental tone can get a changed role. i.e. as a third, ninth or any other tone.
Hi Iver, thanks for your explanations. You know maybe I am illiterate music theory. I posted this video here to the forum » Musicians « because I find it very interesting. In the beginning of this video I thought that Reinhard Schimmelpfeng sounds »like a cat« maybe.
But it is a very cool musicial expression I think so too. And by the way Anima and Aeolus is an impressive theme for a composition. I have to listen their complete CD to see how they express this theme musicial.
I know Reinhard Schimmelpfeng personal because he gave me the introduction in overtone singing so I know that he compose and not "only" improvise music. And that's interesting to compose a part in your music in which you »sounds like a cat ... « (I mean sec. 8 ~ 10 of this video)
Hi again Jens,
your example of jazz meeting overtone is valuable. I am also oft looking for jazz-meeting-other-genre-music.
The video contains good skilled music. I really like it. How much jazz it is is an other matter. I would be happy to post some jazz-overtone-videos that I have found in Internet. This is a new field in music.