Fake Instagram Guitar

[MarkRhodes]

I read today that the Allman Bros album "Idlewild South" (1970) was recorded live in the studio. A few muffs and flubs were punched in but the whole band played at once, the way they did live. (I suspect the acoustic guitar on "Revival" was overdubbed, or else it was played by someone other than Duane or Dickey.)

One of my favorite songs from that album.

[Hep To The Jive]

You ever listen to this compilation of Live BBC cuts? They were an incredibly tight band.

Yes, The Beatles were a great tight rockabilly band, before they started to go into some shmaltz territory. When they did some jazz tunes like September In The Rain, or Till There Was You, they rock them up pretty good, I take a lot of inspiration in that!

[djg]

I don't think there's anything objectionable about it.

There was another video on this, "The ethics of fake guitar" by Adam Neely. He was talking about a "spectrum of permissablity" for jazz, and that working out a solo is "dicey."

oh, neely again. "spectrum of permissablity", huh? can you imagine neely going up to don byas at the gig and telling him: "hey sir, you played the same solo on stardust verbatim for a week now, i dont think that is even permissable!"

there is nothing dicey about working out a jazz solo. it is part of jazz history to do so. and there are jazz tunes that have a famous solo attached to them that everybody was supposed to play. the audience used to expect the flying home or cottontail tenor sax solos verbatim. there is a live recording of rene thomas playing raneys solo on motion verbatim. clint strong used to play grants solo on miss anns tempo live. pony poindexter played birds solos on his gigs. this was usually not announced at the gig. the audience was supposed to be hip enough. also many would be surprised how many splices there are in rudy van gelder recordings. there is take after take of the jazz messengers only playing intros and outros for rudy to puzzle together a valid take. he did magic with pieces of tape.

[supersoul]

oh, neely again. "spectrum of permissablity", huh? can you imagine neely going up to don byas at the gig and telling him: "hey sir, you played the same solo on stardust verbatim for a week now, i dont think that is even permissable!"

there is nothing dicey about working out a jazz solo. it is part of jazz history to do so. and there are jazz tunes that have a famous solo attached to them that everybody was supposed to play. the audience used to expect the flying home or cottontail tenor sax solos verbatim. there is a live recording of rene thomas playing raneys solo on motion verbatim. clint strong used to play grants solo on miss anns tempo live. pony poindexter played birds solos on his gigs. this was usually not announced at the gig. the audience was supposed to be hip enough. also many would be surprised how many splices there are in rudy van gelder recordings. there is take after take of the jazz messengers only playing intros and outros for rudy to puzzle together a valid take. he did magic with pieces of tape.

It's actually a good exercise to work out a solo, because it's basically composition and you can learn the various ways to build up a complete statement. You think about overall structure and making something that bears up under repeated listening.

People have been fixing recordings for as long as there has been recording. It would be negligent not to. Those early Beatles records might have been live, but some of them were made by combining the best parts of different takes.

Late in their career the Beatles famously tried to "get back" to their roots, and attempted to make an album without any overdubs. In the end they still had to add strings, choirs and guitar solos to come up with a (half) decent album.

Another egregious solo-work-out-er was Johnny Smith. His solos are completely composed (I think), and with many harmony overdubs. He's awesome and his albums can be listened to over and over again.

On the show Neely interviews a philosophy professor. At the end he says that "sparks flew" during the discussion, that they fell in love and now she's his life partner. So... Spectrum of Permissability... yeah, Don Byas would probably chuckle.

[pamosmusic]

oh, neely again. "spectrum of permissablity", huh? can you imagine neely going up to don byas at the gig and telling him: "hey sir, you played the same solo on stardust verbatim for a week now, i dont think that is even permissable!"

there is nothing dicey about working out a jazz solo. it is part of jazz history to do so. and there are jazz tunes that have a famous solo attached to them that everybody was supposed to play. the audience used to expect the flying home or cottontail tenor sax solos verbatim. there is a live recording of rene thomas playing raneys solo on motion verbatim. clint strong used to play grants solo on miss anns tempo live. pony poindexter played birds solos on his gigs. this was usually not announced at the gig. the audience was supposed to be hip enough. also many would be surprised how many splices there are in rudy van gelder recordings. there is take after take of the jazz messengers only playing intros and outros for rudy to puzzle together a valid take. he did magic with pieces of tape.

One Finger Snap would be a good one.

I think it’s interesting that old school guys would be less offended by this notion but I’m not convinced they do it more than contemporary guys.

I used to work at the Jazz Standard on 27th St and we’d see eight sets in four nights of the same group most Thursdays to Sundays and there was almost always a lot of continuity from night to night. Literally everyone played some of the same tunes. Most everyone would have some structural similarities — same opening and ending tune for their early set each night, same feature for the bassist etc. There were plenty where you’d hear some real similarities in the arc of each solo they took on the same tune. Odd thing was that you didn’t hear that as much from Charles MacPherson or Houston Person. It was the more contemporary guys where I got that sense more often.

Which I always found very interesting. It’s usually contemporary players who tend to romanticize the spontaneity and originality, generally

[AllanAllen]

I like to play Ornithology as half of my solo for How High The Moon, and I'll throw Billies Bounce into a blues, sometimes I do it twice at the same gig. There's no way that my own improv will top Parker.

[MarkRhodes]

“I realized he couldn't play well enough to put the video out”: Rick Beato weighs in on the Giacomo Turra controversy – and discusses their ill-fated collaboration | Guitar World

>>>>“I realized he couldn't play well enough to put the video out”: Rick Beato weighs in on the Giacomo Turra controversy – and discusses their ill-fated collaboration.<<<

[pamosmusic]

I like to play Ornithology as half of my solo for How High The Moon, and I'll throw Billies Bounce into a blues, sometimes I do it twice at the same gig. There's no way that my own improv will top Parker.

I don't really have plans like this, but I definitely quote a lot.

And even if you want to avoid this sort of thing, everyone has their "stuff."

[st.bede]

The internet has become extremely boring to me. I like you guys, and do appreciate the knowledge I have found, but I am starting to like real life, even boring real life a lot more.

[Christian Miller]

Yeah I had issues with the Adam Neely video.

Poor guy can't win, he gets shouted at for saying Jaco worked out his solos, and shouted at (by us) for saying working out solos are bad lol.

[AllanAllen]

I don't really have plans like this, but I definitely quote a lot.

And even if you want to avoid this sort of thing, everyone has their "stuff."

I did just learn Ornithology a few weeks ago, so it's like a new toy.

[AllanAllen]

The internet has become extremely boring to me. I like you guys, and do appreciate the knowledge I have found, but I am starting to like real life, even boring real life a lot more.

I wish there was an exit strategy for social media that still left me a way to find, book and promote gigs.