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  1. #26

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    Damn, Jonathan, what a nice sound on the recording! Ribbon mics have that wonderful smooth warm sound. I feel like I'm sitting next to you in the studio- and that's on my iPad!

    Also, I like the recommendations towards the bottom: "if you enjoy Jonathan Stout, you may also enjoy:" which is followed by five albums, four of which are Sun Ra. As I was listening to "Cheek to Cheek," the similarity to Sun Ra's ouvre was striking.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Thanks!

    And yeah, for some strange reason Sun Ra is listed in the "Swing" Genre - it's so weird, but whoever the rightsholder is for that music seems to think it's appropriate. I... don't see it.

  4. #28

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    Sounds great - also LOOKS great, digging that design

  5. #29

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    Quote Originally Posted by campusfive View Post
    Thanks!

    And yeah, for some strange reason Sun Ra is listed in the "Swing" Genre - it's so weird, but whoever the rightsholder is for that music seems to think it's appropriate. I... don't see it.
    Clearly it’s big band music and big band = swing, right?

  6. #30

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    Though I certainly hear the swing era in Sun Ra’s work....

  7. #31

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    Hey, so, I goofed actually published the album already instead of merely initiating a pre-sale.
    So, yeah, feel free to buy it NOW. Oops.

  8. #32

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    Jonathan,

    from wikipedia

    In Chicago Blount quickly found work, notably with blues singer Wynonie Harris, with whom he made his recording debut on two 1946 singles, Dig This Boogie/Lightning Struck the Poorhouse, and My Baby's Barrelhouse/Drinking By Myself. Dig This Boogie was also Blount's first recorded piano solo. He performed with the locally successful Lil Green band and played bump-and-grind music for months in Calumet Citystrip clubs.In August 1946, Blount earned a lengthy engagement at the Club DeLisa under bandleader and composer Fletcher Henderson. Blount had long admired Henderson, but Henderson's fortunes were fading (his band was now made of up middling musicians rather than the stars of earlier years) in large part because of his instability, due to Henderson's long term injuries from a car accident. Henderson hired Blount as pianist and arranger, replacing Marl Young. Ra's arrangements initially showed a degree of bebop influence, but the band members resisted the new music, despite Henderson's encouragement.
    In 1948, Blount performed briefly in a trio with saxophonist Coleman Hawkins and violinist Stuff Smith, both preeminent swing-era musicians. There are no known recordings of this trio, but a home recording of a Blount-Smith duet from 1953 appears on Sound Sun Pleasure, and one of Sun Ra's final recordings was a rare sideman appearance on violinist Billy Bang's Tribute to Stuff Smith.
    Those of us who have seen Sun Ra and his band perform, know that he would often inject Fletcher Henderson
    tunes into their set. While it understandable how incongruous it may seem on the surface to characterize his music
    as swing, he did have a lot of cred, arranging and performing experience, including with Fletcher Henderson,
    the progenitor of the swing big band.

    Congratulations and best luck with your various product releases.

  9. #33

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    More swing than bebop for sure.... in Sun Ra’s case that was the music of his formative years...

    I think a lot of the free guys/avant garde were referencing earlier jazz in oblique ways.

    As a sidebar to this some of the most committed early jazz specialists I know also have a background in free playing.

    It’s an interesting zone of cross over. Sort of yin and yang.

  10. #34

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    Just for fun, here's a little freebie.

    A friend of mine asked about using one of my songs as the theme to his podcast - oddly, he'd heard me play "On the Sunny Side of the Street" many times such that he didn't realize it wasn't on my solo guitar CD.

    Well, I told him I could probably whip something up, so here's the demo I made for him using my 1932 L-5 for the melody, and the 1939 for rhythm guitar, and just my demo rig of a Blue Yeti mic into Garageband.

    It was just gonna be a demo, but he decided to use it as is, so there you go.


  11. #35

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    Listen to hard he picks on the electric, kids.

    That's the secret to tone. No wishy washy legato

  12. #36

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    Quote Originally Posted by mr. beaumont View Post
    Listen to hard he picks on the electric, kids.

    That's the secret to tone. No wishy washy legato
    And all or mostly down picking.

  13. #37

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    Jeff - wait, what electric are you referring to? My playing in general? Some specific example? Because there isn't any electric on that "Sunny Side" example. Sorry, I'm just confused.

    But, yeah, I started favoring downstrokes for my Charlie-style electric single note playing a while back, and it carried through to my chord-melody playing as well. I assume its essentially the same thing as "gypsy"-picking, but I'm not expert enough on that style to know.

  14. #38

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    Dig a diga doo?

    Weird, my phone earlier didn't show any of the posts after that one...I thought my reply would be next in line...I can see how that would be confusing!

  15. #39

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    Quote Originally Posted by mr. beaumont View Post
    Dig a diga doo?

    Weird, my phone earlier didn't show any of the posts after that one...I thought my reply would be next in line...I can see how that would be confusing!
    Oh, that's funny. That's an old one too.

    Here's a couple more recent electric examples:






  16. #40

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    Quote Originally Posted by campusfive View Post
    But, yeah, I started favoring downstrokes for my Charlie-style electric single note playing a while back, and it carried through to my chord-melody playing as well. I assume its essentially the same thing as "gypsy"-picking, but I'm not expert enough on that style to know.

    I'm not an expert too but I have a some friends around here that really can play gypsy and I think that the main difference is that gypsy players usually rest the pick on the string bellow and they pick in a more angular way that we play in swing. Something like this...

  17. #41

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    Quote Originally Posted by campusfive View Post
    Jeff - wait, what electric are you referring to? My playing in general? Some specific example? Because there isn't any electric on that "Sunny Side" example. Sorry, I'm just confused.

    But, yeah, I started favoring downstrokes for my Charlie-style electric single note playing a while back, and it carried through to my chord-melody playing as well. I assume its essentially the same thing as "gypsy"-picking, but I'm not expert enough on that style to know.
    Not that it matters a jot, but watching your right hand, it doesn't look like gypsy picking, your wrist is closer to the guitar, and you appear to start some strings with upstrokes... hard to tell if you are doing rest strokes...

    The best description of rest stroke technique I have heard comes from Van Eps - use the next string as a 'pick stop.'

    I think many of the older players had a technique that was a bit like Gypsy picking but different maybe in a couple of ways. I think a lot of this is convergent evolution... If you learn how to play on an acoustic guitar and amplification comes in later you naturally end up using a heavy down-strokey technique.

    (IIRC) Django actually learned his technique from a plectrum banjoist, which itself I think was an adaptation of classical mandolin technique...

  18. #42

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    Quote Originally Posted by christianm77 View Post
    I think many of the older players had a technique that was a bit like Gypsy picking but different maybe in a couple of ways. I think a lot of this is convergent evolution... If you learn how to play on an acoustic guitar and amplification comes in later you naturally end up using a heavy down-strokey technique.
    Yeah, back in the day, they called it "playing the guitar."

  19. #43
    And this is why I listed Stout with Benson and Montgomery as my favorite tones of all time. He's a modern day master of Swing guitar.

  20. #44

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    Quote Originally Posted by christianm77 View Post
    Not that it matters a jot, but watching your right hand, it doesn't look like gypsy picking, your wrist is closer to the guitar, and you appear to start some strings with upstrokes... hard to tell if you are doing rest strokes...

    The best description of rest stroke technique I have heard comes from Van Eps - use the next string as a 'pick stop.'

    I think many of the older players had a technique that was a bit like Gypsy picking but different maybe in a couple of ways. I think a lot of this is convergent evolution... If you learn how to play on an acoustic guitar and amplification comes in later you naturally end up using a heavy down-strokey technique.

    (IIRC) Django actually learned his technique from a plectrum banjoist, which itself I think was an adaptation of classical mandolin technique...
    Yeah, it's not exact. I just try to favor downstrokes. But sometimes, I start to get the full rest-stroke thing happening, perhaps most often when I'm playing acoustic single notes and having to really whomp.

    But I think that carrying over acoustic technique to electric is a big part of Charlie's phrasing and technique, and ALSO for being able to play proper swing rhythm guitar on electric. I wrote a whole blog post on tips for playing swing rhythm on electric, but the truth is that actually knowing how to do it on an acoustic and simply carrying over the same technique as much as possible is the biggest trick.

    Anyway, thanks for the kind words everybody. Cheers!

  21. #45

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    Hey all, if you're at all interested in Swing rhythm guitar, I just did a video/talk for the "All Guitar Network".

    I basically went in with a loose list of stuff to talk about, and dropped two hours of talking/playing that was cut down to about an hour.
    It's not the most organized thing, but there's a ton of good info here, so check it out:

    Archtop Crazy with Jonathan Stout: Episode 3: Freddy Green Style Comping. / All Guitar Network

  22. #46

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  23. #47

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    Thanks for that, Cleber! I started watching the video at the previous link last night but the connection was lost and I couldn't get it back. (Not my connection to the Internet; I was getting a "connection lost" message about the video itself.)

    What I saw was really good. Hope to see the rest tonight.

  24. #48

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    Quote Originally Posted by campusfive View Post
    Hey all, if you're at all interested in Swing rhythm guitar, I just did a video/talk for the "All Guitar Network".
    I’m about 1/3 through. Nice job! Your discussion of the evolution of the jazz beat is fascinating. It would have saved me some confusion and dirty looks if I’d been able to watch that a few years ago, when I started accompanying an elderly trad-jazz through swing-era reed player.

  25. #49

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    Nice video Jonanthan. I think that they will release the next part of your talking about the electric guitar.
    There are two other videos with Jonanthan playing with the great Nick Rossi too.


    Episode 2: Moonglow & Sunday / All Guitar Network

    Episode 1 - I Can't Give You Anything But Love / All Guitar Network

  26. #50

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    Hey all,

    Since some of you might be in Europe, I should mention that I will be there again later this year. I was just in Heidelberg, Germany and met up with some lovely folks:

    Oct.18-19 - Bordeaux Swing Festival (France)
    Nov. 1-3 - Lindy Shock (Budapest, Hungary)

    And in between I should be in Spain playing with Enric Piedro at various things. I'll update as I know more. Cheers!