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Changed line(s) 74 (click to see context) from:
* {{Jazz}}, JazzFusion: Some of their works qualify as jazz fusion ("The Wait of the World" is an excellent example), and ''Blue Lambency Downward'' also has been compared to free jazz. Toby Driver himself disputes this, though, on the basis that one important characteristic of jazz is almost completely absent in Kayo Dot's music: improvisation. However, a case can be made that improvisation is not ''universally'' central to all jazz subgenres, and some subgenres feature comparatively little to no improv. Take JazzFusion: Music/MahavishnuOrchestra's works were tightly composed, which drew criticism from jazz purists at the time, while much of Music/MilesDavis' fusion output was heavily edited in the studio. Music/FrankZappa's jazz fusion material (most famously ''Music/HotRats'', ''Music/WakaJawaka'', and ''Music/TheGrandWazoo'') is also tightly composed; comparing studio and live performances makes it clear how meticulously Zappa arranged his material. One could make a similar argument of [[https://en.wikipedia.org/wiki/Third_stream third stream]], a fusion of jazz and ClassicalMusic exemplified by works such as Davis and Gil Evans' ''Music/SketchesOfSpain'' and Music/CharlesMingus' ''Music/LetMyChildrenHearMusic'', ''Music/TheBlackSaintAndTheSinnerLady'', and ''Epitaph''; though these works often feature improvised solos, they occur within the framework of tightly arranged compositions, and thus they feature comparatively less improv. Lastly, [[https://en.wikipedia.org/wiki/Big_band big band music]], exemplified by artists like Music/GlennMiller and the Count Basie Orchestra, relies almost entirely on written compositions and arrangements and rarely features improv at all, but it's still (usually) classified as jazz.
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* {{Jazz}}, JazzFusion: Some of their works qualify as jazz fusion ("The Wait of the World" is an excellent example), and ''Blue Lambency Downward'' also has been compared to free jazz. Toby Driver himself disputes this, though, on the basis that one important characteristic of jazz is almost completely absent in Kayo Dot's music: improvisation. However, a case can be made that improvisation is not ''universally'' central to all jazz subgenres, and some subgenres feature comparatively little to no improv. Take JazzFusion: Music/MahavishnuOrchestra's works were tightly composed, which drew criticism from jazz purists at the time, while much of Music/MilesDavis' fusion output was heavily edited in the studio. Music/FrankZappa's jazz fusion material (most famously ''Music/HotRats'', ''Music/WakaJawaka'', and ''Music/TheGrandWazoo'') is also tightly composed; comparing studio and live performances makes it clear how meticulously Zappa arranged his material. One could make a similar argument of [[https://en.wikipedia.org/wiki/Third_stream third stream]], a fusion of jazz and ClassicalMusic exemplified by works such as Davis and Gil Evans' ''Music/SketchesOfSpain'' and Music/CharlesMingus' ''Music/LetMyChildrenHearMusic'', ''Music/TheBlackSaintAndTheSinnerLady'', and ''Epitaph''; though these works often feature improvised solos, they occur within the framework of tightly arranged compositions, and thus they feature comparatively less improv. Lastly, [[https://en.wikipedia.org/wiki/Big_band big band music]], exemplified by artists like Music/GlennMiller and the Count Basie Music/CountBasie Orchestra, relies almost entirely on written compositions and arrangements and rarely features improv at all, but it's still (usually) classified as jazz.
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Removed Kim Abrams' Deadname
Changed line(s) 28 (click to see context) from:
* Keith Abrams - Drums, Bass (2012-unknown)
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* Keith Kim Abrams - Drums, Bass (2012-unknown)
