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Originally Posted by lawson-stone
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08-15-2021 05:43 AM
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JipleTrazz: the guitar sounds good there. I don't know that the archtop would be an improvement. Overall, the take feels good, too.
SchmatteMensch (as long as we're oy veying ...) : Your latinization of an already latin tune (bossa noving the boogaloo?) is unquestionably appropriate (for a change ). Lots of interesting subs there.
LawlessStoned: Excellent version, totally agree with Christian that the rhythm work is paying off
WPLJ: To me, that tone sounds very much in the SF Twin neighborhood and is a pretty classic archtop tone. If that's the warmest that amp can get, maybe strident is the right word, but if it has room to bump up the mids and add a little hair, it might be a keeper. The playing there is very nice. I like the laconic, understated quality to it. Cool phrasing and melodic/motivic ideas, too.
And here's another one out of the bunch I did last weekend (painting is ongoing so no new ones thus far ...). Tipped the balance a bit more toward chord soloing on this one. I think the first take was a little crisper rhythmically and the heads were tighter, but this is a little more adventurous.
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Lots to enjoy here!
Triple, loved that you went for a chorus in octaves...they are a BITCH. Nailed the head too. Great stuff.
Ron, as always, laid back, in pocket, great melodies. Grown up playing, the real stuff.
Rag, have you ever considered a nylon string? This kind of loping, Latin eque feel really works for you.
Wzpgsr, nice stuff. Always a good feel and great, clear tone. This kind of tune is your wheelhouse, it shows.
Lawson, in pocket, good lines, good stuff. As usual, you sound best when you play YOU. I honestly wonder what kind of gains you'd make if for 3 months, you completely put away the books and focused just on your own stuff with a bit of lick stealing from a bunch of different players. I bet it'd be huge.
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I must do a video. Lousy quality as ever. It's a short backing track (yes, a backing track!) so I've left out the tune.
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Originally Posted by mr. beaumont
(I wouldn't use nylon for a tune like this anyway, not punchy enough)
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Originally Posted by ragman1
This guy (great player named Joe Ravo) would disagree. I've heard him him do it on a full bodied classical and an archtop as well. Works for him on all of them. [Not a great recording, but you can get a sense.]
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Originally Posted by John A.
Two Rabbis in the railway station, one carrying a big case.
'Aren't you going to ask me where I'm going?'.
'So where are you going then?'
'Don't ask, don't ask!'.
I used to know a Jewish mathematician whose dad was a Rabbi in the Bowery. I've met a lot of people!
Nice, but it's just not Wes :-)
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Originally Posted by ragman1
Originally Posted by ragman1
Originally Posted by ragman1
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So how are you all approaching mm 5-8?
Sent from my iPad using Tapatalk
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John A -
Certainly brisker :-)
I thought Albin meant white, hence albino, from Latin/Norman French -> Europe -> England -> US. Could be wrong, you'd know better than me.
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John -
Sorry! I was just looking at stuff about names (not yours) and I saw this. Priceless :-)
40 Illegal Names That Have Been Banned Around the World - Illegal Baby Names
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Originally Posted by ragman1
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Originally Posted by lawson-stone
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Originally Posted by John A.
I'm just unfamiliar with a progression like this and wonder how you all feel it out. I DO NOT MEAN A THEORETICAL ANALYSIS--just more how to you make this line stand out as different from the first part.
Does that make sense?
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Originally Posted by lawson-stone
bars 5 and 6 move to Ebmaj or C-7 ... The IV- chord,(the relative Min chord of Ebmaj) and bar 7 is really just G-7 to C-7 , the E-7b5 is Diatonic sub of G-7 and the bar 8 is just a V7 back to I-7 or G-.
/ G-7.../ G-7..,./ A-7...,,,, / A-7 D7 /
I-7.....................II-7............II-7 V7
/ C-7.../ C-7... / G-7 C-7 / D7 G-7 /
IV-7...................I-7....IV-7..V7 I-7
This would be in the embellishment approach... vanilla, nothing wrong etc... I generally don't play this way... but depending on the audience can...
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Originally Posted by lawson-stone
Putting it more simply, to the extent that I have a thought process at all, it's basically "hang out in G minor (especially G minor pentatonic), play around with bends between C and Db, and with using Eb, E, F, and F# for color to find sounds that work, use chord stabs and/or stretches of chord/melody, and dynamics/phrasing for variety, throw in some 16th notes and hope no one notices the clams as they blur by, try to hit an A# or F natural on the D7 chord." It seems to me that you're pretty much doing that on your take, the one comment I'd add is that there are places where you play either a C or a D, and in some of those spots try a triplet bend C-Db-C bend instead, or just a bend to not-quite-Db (i.e., a blue note). In a couple of spots you also end a phrase by playing Bb-G; trying throwing in an F# before the G. All that said, your note choices all sound "right" to me, and these suggestions are for the sake of variety, not correction.
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So here's an attempt at improvising a bit more, warts and all. IN the first 8 bars there are quite a few unexpected moments of negative creativity... clams... I'm feeling a little rebellion against mistake-free perfectly mixed clips, I guess. I decided to try to stretch out over several choruses but I think really one was enough.
Recorded using my Aria Pro II PE180 and the DVMark Micro50 head into a home-brew cab with an 8" speaker. Backing track just going int the aux input and "air mixed." Recorded with the iPhone microphone. I was surprised at how well it actually came out.
Feedback is welcome.
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Originally Posted by John A.
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Sorry about the foot-tapping
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Here's the Tommo - take:
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Hey Tommo... yea, you played the changes nicely... I could hear the Ab or Ebmaj7 subdom. sound of 8 bar blues. cool.
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Originally Posted by Reg
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Originally Posted by lawson-stone
Originally Posted by lawson-stone
Originally Posted by Peterson
Originally Posted by TOMMO
My one unsolicited comment on some of the takes here is that I find them a little too even and polite sounding. A lot of us come from a blues/rock background and this is a tune that can draw on that because of the boogaloo feel and the relative simplicity of the harmony. The devices we use as blues/rock players -- vibrato, bends, blues/pentatonic licks, dynamics, space/phrasing -- they all work here, so exploit that. I get the sense that some of you are focusing on making the changes, hitting chord tones and getting it "right", at the expense of just going for it with the vocabulary you actually have.
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Originally Posted by Peterson;[URL="tel:1140826"
Tommo great tone again! You and wzpgsr are head and shoulders high with great tone, I’m very jealous!
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Originally Posted by John A.
Originally Posted by Triple_Jazz
16" 1920s/30s L5
Yesterday, 08:44 PM in For Sale