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Soul Stream
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Posts posted by Soul Stream
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I like Boss Tenors alright. Paul Weeden kind of kills it for me. It's very, very, very early Patterson...so he's at his most Jimmy Smithness. It's a nice outing. So many other of the Stitt/Patterson Prestige recordings dwarf it if you haven't got all those first.
I love the Patterson Muse stuff. Right on B3-er, The Odd Couple is bad...
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The Natural Soul...hands down. As much as I love Patterson, Stitt, Ammons and Billy James. It's not one of their best outings IMHO. The Natural Soul is the #1 Soul Jazz record of all time IHMO!
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For anybody that want to SEE Cannonball in his prime, check out the Jazz Casual and also Jazz Scene USA video/DVDs....they're great!
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Why doesn't Bill Dowdy play drums anymore?
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B3-er,
I'm with you. I thought it was VERY odd that he was taking a direct line from the LESLIE amp! It may be a BIG part of why he gets a very, very special sound. I doubted this was really happening, so I made sure nothing was coming from the organ itself. He had a yellow cord coming from the bottom of the Leslie in addition to the mics. I'm not sure what the difference would be sound-wise as oppossed to coming from the organ preamp, but there surely must be one.
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Yeah, I'm going to load and unload the beast for the fourth time this week. Of course 2 gigs at the same place seperated by a gig elsewhere
, so I couldn't leave it. Glad to hear you're playing a lot. I've been playing more than usual myself in the last 6 weeks, and the next month looks good so far. Hopefully, the pace will continue. I helped bring down my good friend Adam Scone along with his band the Sugarman Three for gigs in Houston and Austin at the beginning of April. I'm opening, so I'm glad I'm playing a lot so as I'll not be rusty.... -
That's funny B3-er.... For you it was The Sermon. For me it was Tough Duff. Both are medium blues shuffles in F. It's really the perfect thing to start on in my opinion. Especially something like those two songs. Tough Duff was nice for me because there was vibes in place of guitar, so there was nothing to obscure the bassline. It's crystal clear on that recording.
As far as remembering when I could first do it.... I remember after initially trying it thinking that I would NEVER be able to do it. It seemed almost impossible at first. Plus, I started on organ. I had no knowledge of the keyboard at all when I started. So, it just proves that determination is a big factor in mastering the concept. I remember learning the head to "Groove's Groove" from the Soul Message LP. That was the first "soloing" I did. Just the notes on the head. I've got a gig tonight, and I'm as excited about it as the first time I ever played. It's always a pleasure to play the organ. (no matter how heavy and hard to load and un-load it is!!!)
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Hey B3-er, I've actually recorded at Rudy Van Gelder's Englewood Cliff's studio. It the same Hammond C3 and 21H he's always used. Rudy mics the 21H but also runs a direct line out of the LESLIE amp. He then mixes the two sources. As you know the Larry Young Blue Note and Don Patteson Pretige recordings organ sounds were almost totally taken direct. Very little of the mics were used. On the other hand, some of the early Patton stuff such as Harold Vick's "Steppin' Out" or Lou Donaldson's "Good Gracious" sound like they have more mic-ed signal than direct.
But no, no Hammond tone cabinet was ever used by Rudy.
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B3-er pretty much said it all. My only advice on playing organ bass is to keep it simple at first. You'll learn pretty fast that a simple effective, repetitive bassline wins every time at first. Forget the fancy stuff right now. Save "Groove" Holmes and Leon Spencer Jr. for another day. Listen to Jimmy Smith or Jack McDuff for nice, simple repetitive basslines. You'll hear certain patterns they do over and over again. Listen especially when they're soloing...that's when their basslines will be at their most basic and repetitive. This is the brain's survival instinct so it doesn't explode while the right hand is soloing.
Stop reading this right now...go out and buy Jack McDuff's "Tough Duff" CD....
...O.K. Now that you're back. Put on the last track, the title track "Tough Duff." It's what you should learn in jazz organ 101. A medium shuffle in F. LEARN THIS BASSLINE!!!! I'm not shitting you. This is the very first bassline I ever learned, and it has served me well ever since. Practice this for about six months(no it's not a joke and I'm not exagerrating. you've GOT to do it that long to get it right). Until it feels like you could do it in your sleep. You'll need that second-nature, muscle-memory ability to play basslines. Start with the bassline only. Work on that slowly, slowly, slowly. You'll see and hear the patterns in there. When you feel a little comfortable playing a simple left-hand bassline(give it 6-8 weeks), add a simple repetitive two-note comp in your right hand. Practice this for a long, long, long time(2 months). When you feel a little comfortable doing that...try a simple solo, nothing big. Believe me you'll fuck it up and drop the bassline pretty quickly....Now go back to step 1 and start all over again.
Another thing. Don't worry about pedals (if you have them) yet. That's a whole 'nother mountain to climb. You've got to crawl before you can walk. Don't confuse yourself with too much too soon. The worst thing an organist can do is play garbage with dropped basslines, senseless soloing and bad time. This shit isn't easy, if it was more people would be able to do it and do it decently. It takes a lot of dedication and some natural ability at it.
Keep it very simple. It might seem overwhelming at first. But don't get discouraged. If you WANT to do it you will. If you half-ass want to try it because it might be fun at the end of band practice, forget it. Good luck and buy "Tough Duff" NOW.....
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I hope you like it AfricaBrass. It's not the type of record I would usually like. A lot of instrumentation, vocals, strings....those are usually warning signs to me. However, I think this is a really creative outing for all. Please let us know how you like it.
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I got Attica Blues the other night. Really, really incredible record. Pick it up if you can. I like the new packaging and low price.
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Yeah, I don't really want to dredge up the ol' Blue Note quality blah, blah, blah. I guess I started it, so I'd like to make an effort to return this thread to it's original intent.
I think a full Mosaic of Patton's work would be justified. The Mosaic Select is fine for certain artists with a limited catalog. Grachan, Carmell...but Patton is a different story IMHO. The titles that were selected are a little curious to say the least. Hop, skip and jump around someone's extensive Blue Note output seems odd...what's the point? If it was to make the domestic unavailable they succeeded a bit, but regress with Along and Let Roll, plus Understanding is easily found. No new tracks is a put off for me to buy it. It just doesn't add anything new or complete Patton's legacy.
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Yeah, but he states that in two different reviews, so I'm doubting that was the case unless lightning struck twice. Good guess though.
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Well, like I said Kevin, being off the BNBB makes me feel a little more at ease in vocalizing my past dissatisfactions. Kind of like bitching about your old girlfriend's bad habits once you broken up. I wouldn't qualify it as bitterness, just a chance to say what you've always wanted to. Although it might come off as such. Matter of fact, I think I'm probably the one of the least affected by the end of the BNBB. I haven't felt like it's changed anything for me. I actually like this board better believe it or not. Admittedly it hasn't helped my view of Blue Note, but I think my points are good ones nonetheless.
I think you're a little defensive about Michael Cuscuna and it shows.
You have a personal relationship with him and I don't. You might feel a need to vouch for his intentions. No vouching needed, his intentions are unquestionable in the world of jazz. That said, accountability for mistakes and making sure they don't repeat is something Tom or someone at Blue Note should address. Leaving bad product out in the marketplace isn't good business. I'm not sure how you would defend that Kevin? -
I know the guy's busy....but is he a one-man show? No interns...?"hey kid, sit down and listen to "Dialogue" like your life depends on it. Welcome to the music business."
All I know is I have a defective "Along Came John" and "Dialogue". Sure, I can send in a proof of purchase, boxtop and 50 cents with a self-addressed stamped envelope.... But that's not my point.
Now that I'm off the BNBB I feel a little more freedom to complain about their b.s. as a paying customer. Get it right Blue Note. Cuscuna or not. They're putting out a VERY limited amount of reissues per year. Someone can get the job done correctly. Excuses don't hold a lot of water in the business world. Blue Note should be no exception. Plus, they're not even "man" enough to recall their defective product!!! Bullshit for the unexpecting. Hallmarks of a company that doesn't give a rat's ass about their consumers. As they've so aptly shown in pre and post-Norah. I can see even less attention to detail on reissues now.
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I had forgotten how to get the corrected version of "Dialogue." I sent Blue Note an e-mail....nothing. Jerks. I later found out about sending them a card with your address was the fix, ect. However, without confirmation from Blue Note, I doubted anything would happen.
Sound is one thing. But a screwed up cover is obvious to anybody looking at it. How hard is it? One thing I'll boast about the japanese product. They are sticklers for detail. Why we can't be is beyond me.
Andy you're right about on "those in the know (BNBB members)" getting better treatment.
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Me neither. Actually, I have the JRVG which is beautiful. But I'd like to have the corrected domestic. That's one thing I always held my tongue about on the BNBB. But now that it's closed what the hell... Blue Note's quality control was fucking horrible. That patton cover, the Dialogue fiasco, ect. Didn't anybody over there check this shit out? I've never bought such botched up domestic jazz reissues. I've never had a problem with any other company.
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I'm surprised Along Came John is OOP. Man, that really came and went. Plus, I bought early of course so I got the SHITTY first cover! Matter of fact, I've never seen a corrected cover, did they ever do one???
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That's right. I was referring to Lou playing Varitone on this...Yanow mistakes it for a Baritone Sax. I don't get how he pulls that out of it...did he even listen to the record? The varitone gives it a lower ocatave on some occassions, but it surely doesn't sound like any Bari I've ever heard!
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Randy, I got to hang out quite a bit a while ago with Lou Donaldson and Lonnie Smith's longtime drummer Fukushi. He's a bad cat who came up under Philly Joe and that inspiration comes through clearly in his drumming. In my book, take all the Jack D, Elvin, Tony you want.... give me some Philly Joe, Art Blakey, Roy Haynes.... I miss hearing their influences in today's younger players. I just don't hear it for the most part. I'm afraid swinging timekeeping is seeing a slow death.
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Hey, if you think that's lame. Check out the AMG Reviews for Lou Donaldson's "The Scorpion, live at the Cadillac Club," and also I think it's "Pretty Things" mayabe another from that time.... Scott Yanow keeps talking about Lou's use of the Varitone as..."Donaldson plays BARITONE sax on these sides." What a COMPLETE idiot.
How do you get job reviewing for AMG??? He's horrible.
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Randy, don't you think it's really impossible for a young drummer to take as his initial inspiration those three. It seems like you're building a house before you poured the foundation. I can't imagine a beginner listening to Tony Williams and walking away with an understanding of how to play the basics. Inspiration yes, but as initial role models? Who would you suggest an aspiring jazz drummer to listen to first?
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Moms. Was playing some Don Wilkerson in the car the other night while driving my Mom to her house. She commented on each song as it started. "Oh, l like this one..." and so on. Until they played a slow blues..."Oh, I DON'T like this. Boring"
So I guess it's not just the young who hate the blues.
"Lifewish," or a slow blues by Wilkerson. Let's face it neither one has WORDS!
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yeah, it's Good Thing Going coming out...NOT That Certain Feeling as it should be.
Organissimo...AAJ Polital dumping ground?
in Forums Discussion
Posted
I check in a couple times a day. It's been getting less and less. Then I realized it's because when I hit the "new posts", it's almost entirely political stuff.
I'm one of the one's that really pushed for this to be an open forum. To include politics. However, is everyone doing their jazz discussion on AAJ and then jumping over here to talk politics?
If that's the case, I'd like to see someone throw us a jazz topic bone every once in a while. I don't go to AAJ, so this is my only source for jazz. However, if it just turns mostly politics because AAJ won't host that discussion, I'll probably come less and less. I could see it withering the board.