BADBADNOTGOOD & Song Pacing/Arrangement

Jazz is America's genre. It began relatively recently (the early 20th century), and it's now an established and completely individual genre of music, separate from classical, rock, and others. What makes jazz so interesting -- and more isolated from other genres -- is its high abstraction and level of complexity. Tunes in this genre are almost treated like abstract paintings by not forcing perfect mathematical musical formulas; improvisation plays a key role in its spontaneity and unpredictability.

And just like every genre, this one is evolving.

Ever since Miles Davis released the controversial "Bitches Brew," (https://www.youtube.com/watch?v=SbCt-iXIXlQ) jazz has decided to experiment on serious levels.

Today, we have neo-jazz, which is making itself known in the popular mainstream. Most neo-jazz songs merge hip-hop (Robert Glasper, The Roots, etc.), and others try different routes.

BADBADNOTGOOD is definitely a neo-jazz group -- one that has directed itself towards rock & roll instrumental jam anthems. Here's one of their famous tracks:
https://www.youtube.com/watch?v=CWF2jHFkNpk

Super 8 already has a similar approach to their music as B.B.N.G. Multiple songs in our repertoire are simple but catchy instrumentals that build on each other throughout (Red Licorice, The Life of Larry David, and The Shubdub). There are some specific methods in crafting this type of arrangement that I've been paying attention to -- they're essential to this type of song.

Pacing is the most important piece of the pie: the difference between two bars of music can mean the world. An instrumental's small details are necessary, but if the big picture isn't fitted to the correct proportions, the song will leave the listener with a strange taste in their mouth.

Playing around with a song's arrangement is like solving a puzzle to me. There's always the perfect fit. I think a specific formula exists -- one that explains our brain's psychological reaction to long-term songs and how they play out. I sometimes think, "the longer the build-up, the more satisfying the resolution?" or "should we just put a new layer in after each measure, and if there's consistency, the progression must sound good?"

I'm still looking for the perfect progression-instrumental arrangement. I think BADBADNOTGOOD hits it pretty darn close. They orchestrate it like it's second nature, while simultaneously incorporating jazz. They know exactly where the solos go. There may be a certain connection between jazz and this abstract knowledge of just how songs work...