Harold_Z

Yeah, but I'm the kind of guy that opens a few windows, gets up - has lunch. etc etc . It my look like I'm viewing I KNOW WHERE YOU ARE for hours, but I might be diggin' some sounds in the next room. It's like going around the block to lose a tail. Actually, i think it's pretty cool.

Yeah, but I'm the kind of guy that opens a few windows, gets up - has lunch. etc etc . It my look like I'm viewing I KNOW WHERE YOU ARE for hours, but I might be diggin' some sounds in the next room. It's like going around the block to lose a tail. Actually, i think it's pretty cool.

It was a heavy blow for sure. Cannon hung on for a while after the stroke - I forget how long - a couple of weeks maybe. I was hoping and praying he'd make it. Cannon was one of the "special" people.

Jazz Corner works way better with Netscape than with I.E. I have both browsers on my pc because of that. They ran a thread about it. A lot of people have the same problem.

Up until maybe some time in the late 70's or early 80's Fender Precisions and Jazz Basses came with a metal bridge cover and also a pick up cover. The bridge cover had a piece of black rubber (it was actually weather stripping. I bought Frost King weather stripping and it was exactly the same thing) stuck of the inside of it. This pressed down on the stringst and muted them - it cut the sustain way down. It really gives you that "thud". I still toy with it now and then on the bass I keep flats on. It takes getting used to for a player not used to it, but it can sound great in certain circumstances. i.e. Jamerson and Motown. Almost all of l the 60's recording bassists used it. Some guys would loosen and tighten the screws to get the pressure just right - or you could stick it further forward or back to vary the muted effect. Jamerson always used it I think Fender sells the pieces as an option now.

I like this board too. A lot of intersting and informative posters wound up here folowing the GREAT BLUE NOTE DIASPORA OF 2003.

Yeah...you got me wondering about "splashy" too. The edits are pretty obvious..stuff like all of a sudden a nice ride cymbal, shimmering and grooving, gets sucked inward and hats magically become the groove....but the playing by all concerned is soooo good.

One of my all time favorites: Little Willie John's "Heartbreak". Stop time on the front 4 of each chorus and a charleston superimposed on the last 8 of each chorus.

Chuck, Here I am...firmly ensconced in the 20th century.

>>That stuff swings hard<< Indeed! And this seems like the right time for me to put my 2 cents in on what a great bassist Sam Jones was. He was terrific.

I think Stefon Harris is telling us the blues is a part the pallet he draws on - one part of it and not as large a part as it has played for us older guys - not as central or important..... Well... he has to make that determination for himself. I think what he is saying is going to be true of large numbers of musicians from his age group. What I'm saying is OK - he can do that and his playing may or may not appeal to all of us (the older guys) - Probably it won't appeal to us - we're part of our timeframe and he is part of his. The thing is..NONE OF US have any choice in this matter. Not him - not us. We're all the sum total of our lives. We are what we are. Look, there will never be a Muddy Waters again...he was a part of his time frame. Pops, Duke...same thing.

Well...you can't fault a man for telling the truth, and that's what the blues mean to Stefon. I think his view makes a lot of sense for his circumstances. A lot of us grew up saturated in blues - blues of all kinds, from R&B to In The Mood. Hip blues, jazz blues, country blues, unhip blues, etc. We hear a certain type of lick and synapses in the brain start going off. It effects us on many levels. It tickles our senses and gives us pleasure. I don't think that necesarily is true for later generations, or at least everybody in later generations, or that the same licks are going to effect later generations. Music changes and the elements and influences that are used change and vary, so I think it's entirely possible to play well and not be saturated with *my* idea of blues. I'll have to listen and decide my liking or disliking something based on each individual case. Kind of like I do now, come to think of it.

I'll say it quick, before I get flamed. There's about a zillion great Jamerson records. Home Cookin' is one of my particular favorites, along with Gladys Knight's version of Grapevine.

It's not Jamerson. Whoever it is out of the Jamerson school plays and plays that bag really well...well enought for me to have bought Can I Change My Mind as a single and then grabbed the album when it came out. He's got his bass set up in a similar fashion with flatwound strings and the bridge cover mute that a lot of guys used at that time....espescially when recording, but it's definitely not James. I checked the Dakar lp and it says recorded at Universal Recording Studios, Chicago. I suppose that puts Louis Satterfield or Phil Upchurch in as strong possibilities and eliminates Carol Kaye . Wanna hear a great Jamerson record? Home Cookin' by Junior Walker.

last night as I was driving to my gig I was diggin' WKCR-FM. Phil Schaap was doing a 3 hour show on Lester Young and was discussing and playing records concerning Lester/Herschel. One of his observations was that upon reading all then contemporay record reviews from the time the records were released was that the critics of the time had a 50% batting average when it came to identifying whether it was Lester or Herschel. Both Lesterand Herschel were aware and amused by this. They went to Eddie Durham and asked him to write a tune featuring both of them. The tune ended up being TIME OUT. Lester and Herschel were supposed to split the solos (in an attempt to really befuddle the critics) but John Hammond put his two cents in (even tho this was a Decca session, Basie let John Hammond influence the band greatly) and the solo became almost entirely a Lester solo. Herschel played 4 bars at the end of the intro into Lester's solo. Nobody - not one critic at that time - ever noticed that Herschel played anything on this record. Phil then played the record several times and isolated the relevant passages. The transition from Herschel to Lester was VERY obvious.

The Great Blue Note Diaspora of 2003. Yeah...I can dig it. As an example of what I think Jim is checking out and finds socially reavealing is the "Note to Blue Note people" thread at All About Jazz. Basically a couple of guys (out of the existing membership) took it upon themselves to lay the law down to what they perceived an an invading army. Quite a few of us posted in defense - some of us counter attacked. It was a GREAT THREAD in an entertaining and informative way. It's finally died down and the attackers have accepted the invaders - I think they realized that we weren't invaders after all - just a bunch of posters that arrived at Ellis Island at the same time.

Iive always heard Paul Motian's name as Moe-she-un. Just how it looks but with a soft t. i.e. she instead of tee

I've said it on other threads...we've never had it better. A bunch of boards that are filling the void ....I don't miss the bnbb at all (and that surprises me). What AMAZES me, however, is the stupidity of the suits in what is so obviously a very bad PR move.

LOL

I like that one with Griff and Lock playing Monk tunes on prestige. "Boss Tenors In Orbit" is a good one two. Sonny Stitt and Gene Ammons w. Don Patterson behind them.. AHHH....there's a whole bunch of great teams. Pres and Herschel, Al and Zoot, Stitt and Ammons, Griff and Lock. ...Then there's that SOUL BATTLE on prestige with Oliver Nelson, Jimmy Forrest and King Curtis. Good record.

A couple of examples of stop time: Almost any recording of NIGHT TRAIN....When The rhythm plays 1 2 3 and is silent on 4 and usually a tenor player does his HONKIN' thing. The first chorus of Johnny Mercer's BLUES IN THE NIGHT. The Richard Berry part at the beginning of Etta James' ROLL WITH ME HENRY. A lot of the Louis Hot Fives contain examples of stop time. WILDMAN BLUES, FIRE WORKS, SKID-DAT-DE-DAT. Louis' solo on CORNET CHOP SUEY is over stop time. >> Performance technique used in New Orleans-style jazz in which the rhythm section stops keeping time << This works better for me if you substitute the word "playing time" for "keeping time". Everybody BETTER keep time or that stop time will turn into a train wreck. . SLOP TIME ! (and I don't mean the dance!)

I saw Cannon live once - in Montclair NJ around 1971 in a jazz club called the Sterington House. Nat, George Duke, Victor Gaskin (? - am I remembering right?), Louis Hayes. All I can say is Cannon was a master. WHAT A MUSICIAN! WHAT A PLAYER! Incredible sound...flawless chops..breathtaking improvisations.. I could just go on and on with the superlatives but I think you guys get it.

I would like to know if barbers should be allowed to charge more.

I can positively tell you I'll take the matter under consideration and possibly get back here with an answer in due time.

In a nutshell - today's bar gig scene (applies to any genre of music). When the register is ringing everything is cool. You get the agreed upon bread without a hassle. When things are slow all of a sudden you're a partner in the bar business.