Rimshot

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About Rimshot

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  • Birthday 09/29/1952

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  • Website URL http://community.webtv.net/jrosswebb1/EASTWINDStribal
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  • Location Huntington,NY
  • Interests I am a working session drummer and play drum kit, I play West African percussion especially djembe for a dance company and I play Middle-Eastern percussion for belly dancers.<br>I favor bop and hard bop but I like alot of things. I can have a great time playing music that I wouldn't want to listen to.
  1. How do you organize it?

    Racks for vinyl racks for cd's drawers for cassettes equals- My organization I try to keep them seperated by genre and keep certain artists together, but it never seems to work. It's fairly tidy, but chaotic. Sometimes I can't find the jewelbox for a cd I was listening to, so I go over to my rack and grab one of my empty blank jewelboxes and write the name on a pece of tape and put the cd away until the jewelbox surfaces (it's usually right in front of me for days). Every couple of months, I go about reuniting cd's with their proper jewelboxes. This used to be more complicated until I decided to burn additional copies of my favorite cd's to put in the tower in my car. That way I don't have empty cd boxes at home and I get to keep the orginals in case my car gets broken into again. (technically, it's quite legal to do that since I am not selling these and I did purchase the originals anyway.I know the record companies would prefer that I buy two or more, but I buy a lot of cd's and I ain't rich) My sheet music is a mess too.
  2. Favorite Miles Davis Album

    I'm a major fan of Miles and I like all of the afore mentioned like "Kind of Blue" and "Stella by Starlight" but I have to agree with one that was mentioned before and got a nasty smilie as a response. I really love "Filles de Killamanjaro". It is Miles at his barest and simplest. It also is a wonderful one that spotlights the genius of Tony Williams. Not the standard show-off riffs, but the intuitive musicianship. In this case less IS more. I never tire of listening to that one and I get something different from it each time. I bought "Bitches Brew" when it was first released and absolutely loved it. I loved the whole fusion concept and was also a big fan of Weather Report and even the early Mahavishnu Orchestra. Within the last decade, "Bitches Brew" has become less interesting to me and it has become one of my least favorite of Miles' oevre, and I am less interested in fusion, though I still like to listen to Weather Report if only to hear Wayne Shorter stepping "out there". Different strokes I guess. I also love the late recordings of Miles in Germany that were made during his tour there in the late 80's.
  3. Favorite 60's rock band....

    Those of you that said: Jimi Hendrix, Led Zep,Cream, Traffic,Jefferson Airplane, etc. have the same record collection as I do. I still listen to those albums. My all-time favorite group that began in the 60's and is still out there swingin' away is Jethro Tull.
  4. What to do when the wife hates jazz.

    Both my ex-wives hate jazz. My last wife wouldn't even come to hear me on a gig. I'm currently single. Does that answer your question? -_-
  5. Do you aggree with this list?

    I'm sorry, but I have to dissagree with you on Nancy Wilson and Oscar Peterson, But Tony Bennett, although a great singer could be thought of as not essential. Oscar Peterson was one of the most influential and awesome pianists of jazz. Kind of the stature of Bird or Trane among them keyboardy types. Although I greatly admire Buddy Rich's technique, I've never really thought of him as a jazz drummer, more of an awesome chart drummer. No Pharoah Sanders? Only one Charlie Parker? Only one Yusef Lateef? None of the real GREAT late Trane, or any of the awesome live Miles? Frank Sinatra? Those wouldn't be the three Herbie Hancock recordings I would pick. I'd like to see Kenny Garrett's "Black Hope" or "Standard of Language" on that list. Alice Coltrane's "Ptah the El Daoud" is worthy. What a great session that must have been. I think there is much too much diversity in the catagory of "jazz" to put together a list that will appeal to everybody. I'm not a big fan of big band or ragtime (I admire it, but I don't listen to it that much). I think that there should be a list broken down into styles more. And no compilations; that's just Reader's Digest fodder.
  6. Michel Petuccianni on PBS today

    What a pleasant surprise I had today when I turned on the tube. WNYC PBS was airing a concert of the late pianist Michel Petuccianni. I am familiar with his work, but I never knew that much about him. They aired a trio concert from NY in the late 90's which had a killer 6 string bass player (sorry, forgot the name) and Steve Gadd aptly strokin' the skins. It was really a very good show and I loved it. Knowing PBS, they'll probably repeat it again soon. It was originally aired about 5 years ago, but this is the first I've seen it. Immediately after the concert show they aired an in depth interview/bio which had Charles Lloyd in part. Some of you have probably seen this already, but if you haven't keep your eyes peeled for a re-run. Thank God I had a blank tape in the VCR so I was able to get it.
  7. Olatunji: Drums of Passion/Columbia

    I knew Michael "Babatunde" Olatunj very well and along with many other percussionists throughout the world had the pleasure of playing music with he and his group in performances. We lost Baba last April to kidney failure, he was only 74. This was his first recording and it was done while he was still a student at NYU and he was playing congas in a jazz combo in the Village and he was approached by an agent to produce an album of West African Percussion and songs. Although he was a very talented musician, he was not regarded as a musician in his native Nigeria, he was here studying political science and econmics in the hopes of becomng a political figure and helping the standard of living in his homeland. Most of the songs on "Drums of Passion" were presented as traditional West African songs, but they are all mostly compositions of Baba's. This IS the one recording that introduced America to the poly rhythms of West African music and it was a major hit. Baba performed with and influenced generations of American jazz and rock musicians, notably Coltrane, Dizzy, Santana and The Grateful Dead. He wrote the musical score for "Raisin in the Sun",as well as Spike Lee's "She's Gotta Have It". Santana's hit song from the 60's "Chingo Ba" was also written by Baba. I own my first copy of Drums of Passion that was on vinyl, a copy on cassette and of course the cd. It's well worth having. The night before Baba passed, I and a group of other musician friends were performing a benefit concert for him to raise money to get him a dialysis machine. We did pretty well and when the news came to us that he passed away at his room in the Eiselin Institute in CA we were of course devastated, but the money we raised went to a good cause. It helped to fund one of Baba's last wishes; that he could be buried in his beloved home, Nigeria. He was a genuinely dear man.
  8. Is Alfred and Francis turning in their graves

    Revised Quote: "Are Alfred and Francis turning(spinnng) in their graves?" ... That's actually a rather pleasant thought for two people that spent their lives in the recording industry. "Still spinnin' after all these years"
  9. RSI and musicians

    I sympathise. I have had severe carpal tunnel syndrome for years.They wanted to operate but I have refused because I know that you lose strength and dexterity. Fortunately, if I just bite the bullet and work out for about ten minutes the pain passes and I can perform. I"m a drummer and can't afford to lose strength and dexterity. About a year and a half ago I suffered a major heart attack (had surgery) and a minor stroke (had therapy). I lost a lot of ability with my left hand and had to play with only matched grip for a while. It's taken me all of this time to regain the full use of my left hand and now, thank God, I feel as though I'm back (all of my subtle grace notes and left hand roll is there 100% again). Why do we do it? .....What the hell else would you want to do? B)
  10. Is Alfred and Francis turning in their graves

    I find this whole thing somewhat humorous. If poor Norah Jones was signed with Columbia or Atlantic, I think a lot of traditional jazz fans would listen to her music, raise an eyebrow and think that it was pleasant enough music and she has a pleasant soulful voice that might be well suited to a more "hardcore" jazz genre. But the fact that she happens to be recording under a jazz icon label, she is ridiculed. Norah Jones music is what it is.If you don't like it, don't buy it. Blue Note is making a ton of money from her right now and I find her work far less objectionable than the plethora of crap that is on other labels. Chill out a bit. Blue Note is still a jazz label, but it's also a business. At least they aren't signing Brittany Spears or Snoop Dog. They are reissuing some classic jazz recordings and they are stil signing new jazz artists. I kind of enjoy a lot of what Norah Jones is doing. There's another great vocalist songwriter out there that is best known as a "Hip Hop" artist, but who can on occassion turn in a performance that will bring to mind classic Nancy Wilson and that is Jill Scott. .......I know....I probably just lost you there.
  11. Musical instruments you could do without in jazz.

    I can't think of any instrument that I would like to have excluded from jazz, because jazz is such an inclusive genre and there are times that almost anything will work. That being said, I don't happen to like when Latin percussion tnstruments are used in jazz pieces that aren't going for the Latin flavor. Specifically things like timbales and guiro. They work great in latin-jazz, but they have such a distinct character that they impose a style to anything that they are played in. They only sound good to my ears when they are being played with the kind of rhythm patterns specific to their genre. Sometimes I've heard them used as accents for effects in other types of jazz and I find it distracting.
  12. What microphone for sax?

    The tenor sax player in the group I play with uses an Electro-Voice RE-20 (it's actually a superb dynamic broadcaster's mic with a whole lot of other good uses).It sounds great with his horn playing. I know a few alto and soprano sax players that use the little Audio-Technica clip-on condenser mic.(sorry I don't remember the model #) We used the Sennheisser 421 in a recording session recently with another tenor sax player and it worked well. That's all I got.
  13. Playing with bad bass players

    I think people are actually born with the gift. I just came back from a session this afternoon where we were rehearsing a few pieces thet we'll be recording in a couple of weeks. The bass player is a young woman that I know mostly as a percussionist and we've played together a lot in a West African style group. I knew that she was a bass player and on the strength of my other interactions with her, I asked her to sit in on this session. She was almost apologetic about her limited experience playing bass and she really shouldn't be apologetic. Quite the reverse.. One time through she played the music straight, second time, she improvised a bit and third time she made it her's. Solid! Sax player on alto was "killer" but I expected that, he's been around quite a while, and has "serious" chops. The thing that drives me out of my mind, is singers that have no conception of time. They can't come in on the right beat and without a word of warning will suddenly decide to sustain a note for an insane amount of time and expect to just come back on their idea of where they want 1 to be. Or else they decide to suddenly start to modulate into another key that just doesn't work and then blame the rest of the musicians for screwing up. I'm a drummer. Drummers are all music gods. We never screw up.
  14. What music besides jazz do you listen to?

    i listen to a lot of different types of music, from early through baroque, classical, romantic, neo-classical, etc. I listen to rock, a whole lot of what's called jazz,blues, etc. My other passion besides jazz is West African percussion based music. If you want to hear some "kick ass" traditional Guinean drumming, pick up any cd by Mamady Keita and Sewa Kan. Any cd by Famoudou Konate, or Les Percussions de Guinee' or Le Ballet Africaines. It's where it ALL came from.
  15. Coltrane, Jazz aesthetics, etc.

    So why should anyone else be interested in Hopper's attempt to paint a white house without using white paint? While Hopper's explanation might be totally lacking in academic BS, it's also totally lacking in any reason to be interested in his work. So you are implying that because of one single person's misinterpretation (apparently not very well informed) in the introduction to Hopper's speech at a civic center somewhere in a small American suburban community, you are saying that all his work is nothing more than doing excercises in color to paint pictures of white houses without using any white paint. Him clarifying that this was just an exercise is a reason not to be interested in his work? If his fame was based on misinterpretations, why did he even bother to clarify that the painting was nothing more than an exercise? Cynisism? Based on one misinterpretation you are excluding any of Hopper's accomplishments. Incredible. Actually,Most entirely missed the point of my Hopper reference. I was not saying anything about Hopper. He's a fine well respected and deservedly so artist. The point is that a work of art can be appreciated on so many different levels, and on levels that may not have been consciously intended by the artist. That doesn't mean that they're not there, it just means that it wasn't primary to them at the point of conception. This in no way detracts from the artists work. It points out the foolishness of those that would ave ALL artsts qualify and document every aspect of their work, to explain and justif all facets like some sort of mathematical equation. The creative spirit just DOESN'T work that way! Although I am a working musician and have been for many years, I am always a backman playing behind others...and I love it. I have written some charts and done some arranging, but I will always just be the guy that they call in to provide the percussion (though creative and I do have my chops) on pieces. I am however highly qualifed to talk on the merits of visual art as my day job is as a visual artist and for the past 20 years as a profesor of art history and studio art at a NY community college. I deal with colleagues all of the time that expound in great length on all of the philosophies of art, while most practicing artsts mostly talk to each other about good buys on paint and rents on loft space. Most musicians talk about gear and gigs. Same thing. Does that mean that musicians don't have phlosophical thoughts? Of course not. They already said it in the music. Why do they have to spell it out for you? If you are liking it "even for all the WRONG REASONS " you're still liking it, and who's to say you're wrong? There are times when someone compliments me on a set and starts telling me what they thought I was doing and I'll say "thank you". All I might remember is that I was fantasizing about nailing the babe with the great set of cans sitting at the front table.