West Coast Blues Thread - Version 2.0

[Schwalbe]

Well, saw Little Charlie and the band last night at the Turning Point in Piermont, NY.

Of the dozen + times I've seen them, I think last night was the best I've ever seen them play. Charlie must have done some serious woodshedding, because he was even better than he was before!

Good to hear Charlie was in fine form. When we opened for them in Minneapolis a couple months back they had been held up by Customs, trying to get in from Canada. And the club had neglected to tell them there was an opening act. They walk in late and we're setting up...made for an interesting moment or two. But they took it in stride, worked the kinks out and had a great second set. Rick and Charlie were very gracious and had some nice comments about The Rough Cuts.
It's a credit to those guys that they can bounce back from the trials of the road like that.:BEER

[Short Bus]

Ha-Ha. Well, It's nice that Rick mentions me, but the truth of the matter is I didn't say anything that Rick wasn't already thinking. All I did was show up one night, drink a couple of beers and comment that the music he was making that evening sounded more "live" to me then the live record that was already finished. Who he recorded with, how he recorded it and what ended up on the tape was 100% Rick's idea.

It IS alive. It sounds totally organic and you can tell that they didn't necessarily go into this stuff with any gameplan. Its just what came out of 3 really good players. To me its the true essence of real music. It didn't have to be anything, just music.

I still want to hear the live album though!

[mr_jlemko]

http://i2.photobucket.com/albums/y2/frankiethetut/WLLIEJOHNSON.jpg

http://i2.photobucket.com/albums/y2/frankiethetut/WILLIEJOHNSON2.jpg

http://i2.photobucket.com/albums/y2/frankiethetut/Willie.jpg

I agree with Ryan. That's Jody Williams and the guy in the background is the drummer Earl Phillips. Niether of those guys recorded in Memphis with Howlin' Wolf. Bonus points to anyone who can name all four guys in the second picture!

I don't know who the woman is, but that's definitely Willie JOhnson and Barrelhouse Chuck w/ Sunnyland in that bottom photo.

[groove_king]

I don't know who the woman is, but that's definitely Willie JOhnson and Barrelhouse Chuck w/ Sunnyland in that bottom photo.

I'm guessing the woman might be Ola Dixon???

[fretshop]

Mike,
I have sold hundreds of Van Zandts to guys, (i even talked Little Charlie into a set) a long time ago.
Anson and Jimmie Vaughan as well as Stevie Ray all used em.
I prefer Big Pups, but they have good tones.

also, Don Mares, Lollars, Fralins, all sound good imho.


Funny story about the Van Zandts:

I met the Van Zandt's through Anson and Charlie Wirtz. Charlie installed a proto-type 50's set into a '81 R.I. Strat that was supposd to be Anson's "Fly" guitar. It was a light instrument and very sonorous. The R.I. and the modded VZ's were used to record "Sins", along with some of Bill Campbell's tweed amps (including a Tremolux). Just before that whole thing went down, the R.I. sent back to W.L., where Anson requested that he remove some windings from the pickups. W.L. was truly puzzled. Anson then took my modded and reliced see through white Strat with original '69 pups in it while we refurbished the R.I. and the '57. So, I finally got to mess with the VZ's !! Anson sounded "big playing that guitar with those pups, and I was a little puzzled at the difference when either Bill or I plucked on it. W.L. figured it all out when he un-strung the guitar....His wife Gloria called me to ask what brand of strings to use, because the current set was destroyed from deep dents and bends from Anson's pick attack !! I still have the sister set of those pups. The "Sins" guitar was stolen in Sweden.

I still sell the V.Z. True Vintage Strat pups, to which we add a tad more windings for us pencil armed and chicken hearted wimps.

[Dave Orban]

"Sonorous"...?!?


;)

[frank62]

^Yes, that is a new one for me. Sonorous.

[Dave Orban]

Use it three times, and it's yours. LOL!

[RickyKing]

Sonare
Sonaratum
Sonaratus :crazy

[TwoFeets]

Sonare
Sonaratum
Sonaratus :crazy


Oh man, Ricky, you're killing me here. Six years at Boston Latin School suddenly flashed before my very eyes.

[Dave Orban]

Dominick eats Nabiscos...

Here comes Mary at two-two-oh.

[TwoFeets]

Prime Meridien

Ante Meridien

Uncle Meridien.

All the little Meridiens.

[Poppa Stoppa]

'Sonorous' I can handle, but all this Latin...
How'd it go...?

Caesar adsum iam forte
Brutus aderat
Caesar sic in omnibus
Brutus sicinat

[fretshop]

"Sonorous"...?!?


;)

Sonorous:

1. giving out or capable of giving out a sound, especially a deep,
resonant sound, as a thing or place: a sonorous cavern.

2. loud, deep, or resonant, as a sound.

3. rich and full in sound, as language, verse or '57 Stratocaster
in hands of short blonde Texan


Next word:

Melifluous

[Dave Orban]

Sonorous:

1. giving out or capable of giving out a sound, especially a deep,
resonant sound, as a thing or place: a sonorous cavern.

2. loud, deep, or resonant, as a sound.

3. rich and full in sound, as language, verse or '57 Stratocaster
in hands of short blonde Texan


Next word:

MelifluousBelieve me, I know them both. It's just the first time I've ever seen them used on the Gear Page. LOL!

[fretshop]

Next word:

Prolix


No Dave...it's not a prostitute with exceptional oral skills.

[jumpnblues]

Sonare
Sonaratum
Sonaratus :crazy



Sonaratus...I had that on my sonoratum once. Took a lot of salve to clear it up. :eek: :messedup :rolleyes:

Tom

[Dave Orban]

THAT had to hurt...!

[TwoFeets]

'Sonorous' I can handle, but all this Latin...
How'd it go...?

Caesar adsum iam forte
Brutus aderat
Caesar sic in omnibus
Brutus sicinat

Omnia Gallia in partes tres divisa est.

[musicofanatic5]

Do you guys get anything done at work? I mean, I'm loafing at home and I know I'm not getting anything done! (s'posta be packing to move; whatta hell moving is!) When I start my multi-national, mega-corporation, I'm not hiring any gtr geeks (or Latin-humorists)!

[bluesowl]

As cheech 'n' chong's Sister Mary....? used to say,
" As the great St. Dominoe used to say, ' Oh feely me belly bony selly all his dominoes', and with that I'll turn it over to Sargent Stadanko".

[Dave Orban]

As cheech 'n' chong's Sister Mary....? used to say,
" As the great St. Dominoe used to say, ' Oh feely me belly bony selly all his dominoes', and with that I'll turn it over to Sargent Stadanko".Sister Mary Elephant...!

Class....! CLASS...!





ROTFLMAO!

[Echo Are]

Sister Mary Elephant...!

Class....! CLASS...!





ROTFLMAO!

"The first day of my summer vacation, I got up, to look for a job. Then I hung out in front of the drug store. The 2nd day of my summer vacation I got up, to look for a job. Then I hung out in front of the drug store..."

[KBR]

Who Works?

next Life, I may get a day Gig.

[TwoFeets]

I guess it all depends on what you mean by "Work!"

[fretshop]

I guess it all depends on what you mean by "Work!"

I guess I have a real day job....well...I've been told that I have a real day job....hmmmm....yeah, I guess it depends on how you define the word "work"...yeah, you're right dos peds !!

My guitar business doesn't count though....IMO, obsessive compulsive behavior and self mortification don't count as a job description....even though they are pre-requisites for Lutherie.

I want Dave Orban's Job !!

[Dave Orban]

I guess I have a real day job....well...I've been told that I have a real day job....hmmmm....yeah, I guess it depends on how you define the word "work"...yeah, you're right dos peds !!

My guitar business doesn't count though....IMO, obsessive compulsive behavior and self mortification don't count as a job description....even though they are pre-requisites for Lutherie.

I want Dave Orban's Job !!Stick around. It may be available soon. LOL!

[KBR]

I'll take anyone's JOB

Being a Blues Guitarist/BluesMan since the early/mid 60's ain't easy!

[S.W.Erdnase]

I'm guessing the woman might be Ola Dixon???

That's what I said. Anyone know if that's right?

[mikelaw]

Do you guys get anything done at work? I mean, I'm loafing at home and I know I'm not getting anything done! (s'posta be packing to move; whatta hell moving is!) When I start my multi-national, mega-corporation, I'm not hiring any gtr geeks (or Latin-humorists)!

i get more done at my job then anyone there and STILL have time to 'chat'. go figure...either im really efficient or everyone else here is awful

[Dave Orban]

i get more done at my job then anyone there and STILL have time to 'chat'. go figure...either im really efficient or everyone else here is awfulAin't that the truth! LOL!

[TwoFeets]

Quick, someone humor the Aussies and tell them it's Ola Dixon, before they go crazy on us and try to force us to eat vegemite!

:D

[Scott Miller]

Or maybe it's Grace Brim. Guitar player looks kind of like John Brim. Vaguely. Or not. What do I know.

[nc slim]

Jimmy Reed tour On Austin city Limits Sat Oct 27 9pm et

I ve got the Van Zantz from Anson in my 58 strat

[groove_king]

Quick, someone humor the Aussies and tell them it's Ola Dixon, before they go crazy on us and try to force us to eat vegemite!

:D

LMAO!!!

ummm .... so is it Ola Dixon? :crazy

[Dave Orban]

Here's a cool picture of me with Nathan James and James Harman at a gig in August, after Nathan and I switched guitars for a couple of songs. I'm playing his '70s Les Paul Special, and he's playing my '53 175. What a great time we had! :dude

http://www.oydesign.com/gypsies/pictures/orban_james_harman031.jpg

(Boy, I hope none of the haters gets a load of Harman's Hawaiian shirt...! :eek:)

[valcotone]

Nice shot Dave! How did you like that Special? I've got one just like it.. it's from '74 actually, they were only made for that one year with the wrap tail.

[dukeh62]

Hey all you H62, H63 & Espanada owners...

How many of you have soundposts in your guitars, and how many don't? Any of you ever INSTALL or REMOVE one. I'm thinking of pulling mine out to get more acoustic tone. I know the feedback risk, but don't think it'll be a problem.

[fretshop]

LMAO!!!

ummm .... so is it Ola Dixon? :crazy


I called David Earl at Severn. It seems that Ola has moved soewhere and left no forwarding addres or telephone. I also left a message for Brian B., her old guitarist. Lets' see what transpires.

Brian and I both worked with Ola Back in the 80's and 90's, and she was a very large person back then. That photo does not look anything like the Ola I knew. Ola's career went back to the 60's, and she worked with alot of established artists. You got me wondering too.

Pete, have you seen, or heard from Brian ?

Any of you Philly guys seen Brian ?

[Dave Orban]

Nice shot Dave! How did you like that Special? I've got one just like it.. it's from '74 actually, they were only made for that one year with the wrap tail.Ahhh... brain fart on the date. Oy!

In any case, it was VERY nice... :dude

[mikelaw]

I'll take anyone's JOB

Being a Blues Guitarist/BluesMan since the early/mid 60's ain't easy!

Ill switch with you tomorrow ken. Enjoy the benefits....see you at 2pm when you wake up!

[THINSOCKS]

Hey all you H62, H63 & Espanada owners...

How many of you have soundposts in your guitars, and how many don't? Any of you ever INSTALL or REMOVE one. I'm thinking of pulling mine out to get more acoustic tone. I know the feedback risk, but don't think it'll be a problem.

The first H-62 I owned had a sound post in it. I never noticed much difference between that guitar or any other H-62's I owned that didn't have a post. The tops just seem rather dead on those guitars, so it didn't sound like a post made a difference. Same thing with my Espanada. That guitar sounds dead when it's unplugged. Just no weight to the note acoustically. On the flip side, I put a sound post into my ES-350 and it killed the guitar. It stiffened the guitar up, killed the sustain and made the guitar sound thin and trebly. I've pretty much sworn off sound posts after that experiment.


Oh, and a word of warning/advice - don't just yank the post out. It may be in thier becuase the top is sagging and not becuase of a issue with feedback. It's best to use some sort of machinist or brace repair jack while you remove the post. I learned this lesson the hard way with a Harmony 1310. I pulled the soundpost out and when I strung the guitar back up the top dropped 1/2" and broke the braces.

[Dave Orban]

I dunno. I gigged my '53 175 WITHOUT a sound post for a couple of months before putting one in. Lots of uncontrollable howl, depending on where I was relative to sound waves. That was about 5 years ago, and, after installing a sound post, I would never go back.

Hey, if it works for Little Charlie (who first told me about it), it works for me. And it does. ;)

[blueskalle]

I've got a H63 Espanada and it doesn't have a soundpost. Sure its prone to feedback, but its a very lively guitar. I believe I can control the feedback pretty well.

Igor: You and your band are SMOKIN'!!!:BEER

Next Friday I'll be seeing John Nemeth and Junior Watson in Copenhagen!!!!!:drool:BEER

[Strat-O]

Mine didn't have a soundpost in it. I never had any problems with feedback with mine.

[valcotone]

I remember reading that the location of a soundpost is crutial to the instrument response... something about that's why some violins are so well respected, because the makers knew exactly how and where to place it. Maybe there's a parallel to guitars there?

My old black Silvertone archtop like an H62 had something like 6 soundposts in it and I never really bonded with that guitar...

[michael30]

My H-62 has a soundpost but still sounds very lively when unplugged. Might have something to do with the repaired top. It was struck by lightning (or the room it was in was hit by lightning....) which resulted in the pots melting and burning a hole in the top. The neck was broken in three places. Fortunately the previous owner sank ridiculous amounts of money into repairs before selling it to me at a substantial loss. Not that I got it cheap...

[S.W.Erdnase]

I called David Earl at Severn. It seems that Ola has moved soewhere and left no forwarding addres or telephone. I also left a message for Brian B., her old guitarist. Lets' see what transpires.

Brian and I both worked with Ola Back in the 80's and 90's, and she was a very large person back then. That photo does not look anything like the Ola I knew. Ola's career went back to the 60's, and she worked with alot of established artists. You got me wondering too.

She played on "Live at the Knickerbocker", one of my fave LPs for Big Walter, Ronnie and Sugar Ray...

TwoFeets: give me your address and I'll send you a jar of finest "Australian caviar".

[groove_king]

She played on "Live at the Knickerbocker", one of my fave LPs for Big Walter, Ronnie and Sugar Ray...

TwoFeets: give me your address and I'll send you a jar of finest "Australian caviar".

Dude, don't do that - you might be imprisoned for transporting hazardous materials across international borders!!! :roll

[Poppa Stoppa]

Hey all you H62, H63 & Espanada owners...

How many of you have soundposts in your guitars, and how many don't? Any of you ever INSTALL or REMOVE one. I'm thinking of pulling mine out to get more acoustic tone. I know the feedback risk, but don't think it'll be a problem.Mine has a big square post under one side of the bridge. I won't be taking it out as the top has developed cracks in the past and I don't want to risk it.

[Scott Miller]

Wow. I checked out that Archie Shepp/Jeanne Lee thing only to find that "Blase" is a song that I heard once on the radio in 1972, and never forgot. I never knew who played it, or the name of it, or anything, but it has resurfaced in my memory over and over ever since, probably because the last time I heard it, I was with a friend who shortly thereafter went into a life of heroin and mental illness. That was probably the last time I saw her in a contented state. She's still alive but lost to me now.

Well... it is a very good CD.

- Scott M

[fretshop]

Here's a cool picture of me with Nathan James and James Harman at a gig in August, after Nathan and I switched guitars for a couple of songs. I'm playing his '70s Les Paul Special, and he's playing my '53 175. What a great time we had! :dude

http://www.oydesign.com/gypsies/pictures/orban_james_harman031.jpg

(Boy, I hope none of the haters gets a load of Harman's Hawaiian shirt...! :eek:)

Yes....Definitely Ola Dixon !!

[fretshop]

Wow. I checked out that Archie Shepp/Jeanne Lee thing only to find that "Blase" is a song that I heard once on the radio in 1972, and never forgot. I never knew who played it, or the name of it, or anything, but it has resurfaced in my memory over and over ever since, probably because the last time I heard it, I was with a friend who shortly thereafter went into a life of heroin and mental illness. That was probably the last time I saw her in a contented state. She's still alive but lost to me now.

Well... it is a very good CD.

- Scott M

The entire album blew me away. My two favorite cuts are "Balm In Gilead" and "Sophisticated Lady". This collaboration of Shepp and Jeanne Lee is masterful IMO. "Balm In Gilead" is a traditional spiritual that was very popular in gospel circles, and I had the opportunity to hear renditions of it while living in both Biloxi, and Algiers Louisiana during the late sixties.
Nothing moved me more than Jeanne Lee's interpretation.

Did you get a chance to dig the entire album? I really believe that YOU, and perhaps Jon Ross would be inspired by Dave Burell's piano intro, and the interplay between Shepp's Sax and Malachi Favors' Bass accompaniment on Sophisticated Lady.

[fretshop]

Scott, If you like Shepp, then check out his sextet . Ca. 1963-64. He recorded some way out stuff at Van Gelder's in Engelwood NJ. He was really reaching out then with arangements like: "Rufus, swung his face at last to the wind....then his neck snapped".

Do you like Roland Kirk ? I was close to his widow, Dorthaan, who lived near us for years. Dorthaan was a driving force during the rise of "WBGO Jazz 88", in Newark NJ. She also started the "New Vibration Society" to keep her late husband's work alive, and to lend assistance and inspiration up and coming avante garde jazz artists.

[pete kanaras]

bright moments

[fretshop]

bright moments


Wore out the original vinyl, and was ecstatic when it was finally released
on CD. Masterpiece.

Did you ever check out "The case of the three sided dream" , or his work on "a meeting of the times" with vocalist extraordinaire Al Hibbler ? "Do nothing 'till you hear from me" and "Daybreak" are two of my favorite cuts....man Hibbler just gets into it with his deep bass voice, and they way he and Kirk mimic one and other with voice and Saxophone...

I hope we're not upsetting anyone here with the jazz talk...

[jumpnblues]

"["Balm In Gilead" is a traditional spiritual that was very popular in gospel circles,...]"


We sometimes sing it at Mass.

Tom

[Scott Miller]

Majorly huge Roland Kirk fan here. I scoured every known record shop in the bay area looking for Meeting of the Times, finally found it... paid through the nose.

I'm inexplicably drawn to the jazz eccentrics; Roland Kirk, Sun Ra, Albert Ayler, Monk. The funny thing (to me) is that a lot of those guys projected a bad-ass persona, but they're all total suckers for the beautiful melody. Closet hopeless romantics, every one of them.

On a different subject, thanks go out to KBR for filling in for me while I was out of town. I hope you had a good time.

[KBR]

I had a Great Time, Thanks and I am sorry for your loss, Scott.
I got to try out my new flamed plywood Strat (it was a free body) w a Bridge P94, tuned down to D...It sounded pretty huge.
Easy on the fingers, I can see and feel why Albert King tuned down to Db (minor) saves the fingers for dudes that bend alot!

[fretshop]

"["Balm In Gilead" is a traditional spiritual that was very popular in gospel circles,...]"


We sometimes sing it at Mass.

Tom

Tom, If you can find Blase on the internet...buy it. Jeanne Lee's arrangement of Balm in Gilead is truly inspiring. IMO ecclectic, but the best I've heard yet....it will stir you

[fretshop]

Majorly huge Roland Kirk fan here. I scoured every known record shop in the bay area looking for Meeting of the Times, finally found it... paid through the nose.

I'm inexplicably drawn to the jazz eccentrics; Roland Kirk, Sun Ra, Albert Ayler, Monk. The funny thing (to me) is that a lot of those guys projected a bad-ass persona, but they're all total suckers for the beautiful melody. Closet hopeless romantics, every one of them.

On a different subject, thanks go out to KBR for filling in for me while I was out of town. I hope you had a good time.

I worked for a while at The Folk Lore Center in Greenwich Village, and a frequent guest was none other than Charlie Mingus. Most of the Jazz, Blues and Folk artists either from town, or passing through made it to the shop. We had a killer record section, and the best stringed instrument repair in the city..IMO. One afternoon, I got to watch Mingus play with a bow, something I'd never before seen a Jazz musician do. I also got to see Monk's ring....when he turned his hand around, the ring read "KNOW".

[jumpnblues]

fretshop,

Thanks for the heads up. I'll check it out.

Tom

[TwoFeets]

I worked for a while at The Folk Lore Center in Greenwich Village, and a frequent guest was none other than Charlie Mingus. Most of the Jazz, Blues and Folk artists either from town, or passing through made it to the shop. We had a killer record section, and the best stringed instrument repair in the city..IMO. One afternoon, I got to watch Mingus play with a bow, something I'd never before seen a Jazz musician do. I also got to see Monk's ring....when he turned his hand around, the ring read "KNOW".

All these years later, George hasn't realized that he was actually reading the ring upside down. It actually said "WONK"

[fretshop]

All these years later, George hasn't realized that he was actually reading the ring upside down. It actually said "WONK"

Other people queried Monk about that. His response was usually...it's all in how YOU look at life...AND your universe. I Chose "Know".

In retrospect....we really should wait for a definitive answer on this matter from Ola Dixon. By the way...she has definitely moved out of our area, and left no forwarding address. I still have not heard from Brian Bisesi.

http://cover6.cduniverse.com/MuzeAudioArt/330/339023.jpg (http://www.cduniverse.com/images.asp?pid=1195448&cart=617205142&style=music&image=front&title=Dixon%2C+Ola+%2D+Labor+Of+Love+CD)

[pete kanaras]

Did you ever check out "The case of the three sided dream"

"ELECTRICITY?!!!????? sheeit, pull the plug on you and you be DEAD! i'm electric all by myself!"

the man then proceeds to put a manzello, strich and tenor saxophone into his mouth all at once and proceeds to play an independent theme on each at the same time. words fail....

[fretshop]

Did you ever check out "The case of the three sided dream"

"ELECTRICITY?!!!????? sheeit, pull the plug on you and you be DEAD! i'm electric all by myself!"

the man then proceeds to put a manzello, strich and tenor saxophone into his mouth all at once and proceeds to play an independent theme on each at the same time. words fail....

Pete & Scott,

Indeed...you guys have given me a boost !! There is life after H-44s and battered Pro Amps...Thank God !!

I have a bunch of this material on pristine vinyl. I prefer CDs...just my choice, although I have acquaintances who believe I am a heretic. I dunno, to my soon to be sixty year old ears....the difference (Vinyl vs. CD) is kinda like splitting hairs, or else maybe I just don't give a shit about the superior "nuances" of vinyl.

Then there is material that just doesn't sound good re-processed to CD....The early Velours, Cadillacs, Earls, Allures, Emeralds and The Tymes.

Pete: my brother Arnie just finished a stint with The Orlons and Marvelettes, featuring Barbara Harris. If you remember, Barbara left to form the Toys. Just wonderful folks to hang around with !!

[pete kanaras]

There is life after H-44s and battered Pro Amps...Thank God !!

umm, well put....

"the inflated tear" is amazing, maybe my favorite rah album of all. mingus? i have a lot but i'd have to go with the late period "let my children hear music". man i have to pull that out tonight. monk is my all time favorite musician and always has been. albums all the way for me if i have the choice, but i'll take the music any way i can get it.

hey if you do netflix they just got an AMAZING eric dolphy live europe '64. just ordered that and the dvd version of "horowitz in moscow". oh yeah, from howlin' wolf to horowitz. works for me

Always Know

[KBR]

Brian Bisesi

A very good Player, he left SF and went back East a while ago, 8 years?
NY, I heard. He is on one of my cds.

[fretshop]

Brian Bisesi

A very good Player, he left SF and went back East a while ago, 8 years?
NY, I heard. He is on one of my cds.

Ola and Helen Lazar were managing Brian, Jay Owens (God rest his wonderful soul), and me during the '80s. Brian had a prior gig with Otis Rush, then did the NY session thing for a while and did stints with Danny Dreher, Robbie Ross and Little Buster (three of NY's best axe men). We worked together with Ola, Otis R., Hubert Sumlin/Pinetop/Jimmy Rogers and the Myers Brothers...halcion days they were....ain't never seen things popping in NY, or the east coast for that matter since. You and Pete K. remember !!! Matter of fact, I played Wallaces for two nights before your gig...and lent Michael Goforth some of our amps just in case you were in need. Wallace's.....now that was a BLUES BAR. I started lettin' the ho's in for free, and after that, my car never got busted into. Ken, I hate gettin' old...but I wouldn't give up the memories or the experiences...they are priceless !!

[musicofanatic5]

I remember reading that the location of a soundpost is crutial to the instrument response... something about that's why some violins are so well respected, because the makers knew exactly how and where to place it. Maybe there's a parallel to guitars there?

My old black Silvertone archtop like an H62 had something like 6 soundposts in it and I never really bonded with that guitar...

The application of the soundpost in violin family insts has little or nothing to do with this gtr application. In fact, in gtrs, "soundpost" would be quite the misnomer, with "anti-sag top support" or "vibration inhibitor" being more accurate terminology. The theory in violin making is couple the top and back plates and have them vibrate in concert. In the lifetime of a violin the soundpost location will get kicked around to adjust the desired response of the inst, often nullifying the original placement by the maker.
That aside, I can certainly see why Charlie and others do refer to them as soundposts. Who the hell am I to deride the bastardization of technical terminology!
Speakin' of Charlie, LC&tNCs played a local hippie bar last week (to a miserably short house) and I went by to say hey and dig 'em. Things being slow, Rick wandered off stage early in the second set and Lorenzo waved me up and handed me his doghouse. Chuck says, "Whaddaya know?", I shrugged and replied, "Most of 'em", so he says, "Moten Swing in C?", and I say "Sure", quickly trying to think of what the bridge modulates to (being used to playing that tune in Ab). All goes well at a nice civilized Basie tempo, so after that he says, "How 'bout a little Cherokee?", and again I say "Sure,". Given the chance to finish the sentence, I would have included "if it's not too fast", but before I had a chance, the sadistic bastard was counting it off at about 20 bazillion bpm, and we were off, with Jay, the drummer, pushing the tempo! Lord have mercy! It was Mr Toad's Wild Ride with me hanging on for dear life and sweat leaping from my forehead! After he wore me out with several gtr choruses he gives me a solo! Sh*t! I just kept the quarter notes coming, walking through the more extended regions of the changes (one chorus, thank you!), then handed it off to Jay. Chuck thought it was all very amusing and he was complimentary and referred to me on mic as a "good sport" (thanks!). I reminded him that the original version of that tune was a waltz and recommended he try that sometime. A true trial by fire!
Am trying to figure out how to post a video of this on youtube for all to snicker at. Letcha know.

[Scott Miller]

"How 'bout a little Cherokee?"

I think I know someone else who got that treatment! AC?

[Dave Orban]

Was it THIS fast...?

http://www.youtube.com/watch?v=Om6HDUKBbzE

[GOLDENSTRAT]

Good to see the jazz appreciation, I've been listening to Coltrane and Pharoah Sanders quite a bit the last week too, getting a respite from the 12 bar format. I still would like to get a clue to what all those jazz guys ('specially bass player) are doing after the head in "Blue Train" style songs. I listened to a snippet of "Blase" and it sounded very cool and moody, love the sound of the piano. fred

[valcotone]

The application of the soundpost in violin family insts has little or nothing to do with this gtr application. In fact, in gtrs, "soundpost" would be quite the misnomer, with "anti-sag top support" or "vibration inhibitor" being more accurate terminology. ...


Thanks for correcting my supposition, Jon!
Your trial by Charlie sounds exciting... I'd love to see it! :BEER

[musicofanatic5]

Was it THIS fast...?

http://www.youtube.com/watch?v=Om6HDUKBbzE
Yeah, 'bout like that, but Chuck's tone and phrasing was better! (nylon strings and a pick?!?!?). Wow, somehow I missed that episode of Carson.
I've seen lesser players completely f*ck themselves on Cherokee by counting the tempo too fast. It's misleading because the head is a lotta whole and half notes and easily played at that tempo, but then you get to the solo choruses and the men get separated from the little girly men.

[HappyValley]

Speakin' of Charlie, LC&tNCs played a local hippie bar last week (to a miserably short house) and I went by to say hey and dig 'em.
I was off this weekend, caught 'em twice. They played for a packed house at Chan's (even w/ the Red Sox game happenin'), and a decent crowd at Firefly's. They sounded killer....but we know that!

[fretshop]

"How 'bout a little Cherokee?"

I think I know someone else who got that treatment! AC?

Timing....Man you guys hit a nerve here !!!!

We used to do "After You've Gone" as a standard, and fortunately, our bass player was a stickler for timing. He'd stare at me, count off , stomp his foot and chant "You ....Guitarists....Play....Too....Fast !!" as if he were having a Tourette's episode.
Take an arrangement like "Hittin'"...move it out of its time signature...and to me it sounds like a flurry of mush.

My brother studied with Lenny Breau for years, and got a tip. Arnie taught me to "drag" the intro, sometimes repeating all, or part of it until everyone is in sync...then enter the melody. Sometimes it still don't work.....it's that od devil adrenaline, I guess.

Here's a scenario....

You can practice an arrangement FOREVER, use the metronome...etc...
etc, and it sounds right on...everything clicks. You can recite, and tap the time signature in your sleep....Practice some more...yell at rehearsal until all personnel respond like The Manchurain Candidate, then get on the band stand and guess what...all Hell breaks loose, all the work goes down the shitter, and ya drive home pissed.

[rhartt1234]

I hear that Darrell is back singing with Anson and the Rockets. Can anyone confirm or deny? That would be pretty cool if it's true.

[Dave Orban]

Yeah, 'bout like that, but Chuck's tone and phrasing was better! (nylon strings and a pick?!?!?). Wow, somehow I missed that episode of Carson.
I've seen lesser players completely f*ck themselves on Cherokee by counting the tempo too fast. It's misleading because the head is a lotta whole and half notes and easily played at that tempo, but then you get to the solo choruses and the men get separated from the little girly men.
When I saw them the other night, it was a pretty rollicking tempo, too.

Man, what a player!

[Poppa Stoppa]

Timing....Man you guys hit a nerve here !!!!

...Here's a scenario....

You can practice an arrangement FOREVER, use the metronome...etc...
etc, and it sounds right on...everything clicks. You can recite, and tap the time signature in your sleep....Practice some more...yell at rehearsal until all personnel respond like The Manchurain Candidate, then get on the band stand and guess what...all Hell breaks loose, all the work goes down the shitter, and ya drive home pissed.Here's another:

You practice hitting a tempo, and it sounds cool in rehearsal. You count it off at a gig, everything is fine for the first few bars, but the drummer hears it different in his head and his internal metronome pulls it WAY down or WAY up...either til it's dragging like lead or it's speeding so fast you can't even fit the words/notes in. You shake your head and just wonder WHY.

[pete kanaras]

You count it off at a gig, everything is fine for the first few bars, but the drummer hears it different in his head and his internal metronome pulls it WAY down or WAY up

bad drummer, plain and simple

which reminds me of the tale of a lc&nc drummer who will go nameless. he was driving chuck and rick nuts apparently because he would rush like a mofo. on one of his last gigs he did it again. and rick, being one of the funniest human beings on the planet, walked back to the guy in the middle of a tune and went "hey man, we ain't gonna get out of here any sooner!"

somebody gimme a rim shot

[Goldie295]

New Jr Watson vid here (http://www.youtube.com/watch?v=VJ0yaqrbDLw).
Cheers,
Phil

[THINSOCKS]

You count it off at a gig, everything is fine for the first few bars, but the drummer hears it different in his head and his internal metronome pulls it WAY down or WAY up

bad drummer, plain and simple

which reminds me of the tale of a lc&nc drummer who will go nameless. he was driving chuck and rick nuts apparently because he would rush like a mofo. on one of his last gigs he did it again. and rick, being one of the funniest human beings on the planet, walked back to the guy in the middle of a tune and went "hey man, we ain't gonna get out of here any sooner!"

somebody gimme a rim shot

Paul Oscher told me that he had opened for Chuck Berry once at some theatre in New York. The concert promoter was really upset with Chuck because he only played 25 minutes and not the 30 minutes that he was contracted for. The promoter told him he would simply not pay him if didn't play another 5 more minutes. Paul told me Chuck Berry was pissed and that he looked over at his drummer and said, "I told you not to play so damn fast!". Ha-Ha.

[aja]

Great Jr. vid. Thats my fav song from come and get it.

[zappafrank]

"How 'bout a little Cherokee?"

I think I know someone else who got that treatment! AC?

Yep---he just always THREATENS to call me up and 'we'll play Cherokee'---he's never done THAT to me---just laid complete waste to my shriveled, dejected, crushed soul and shattered what little shreds I have left of my musician's ego with nice, moderate tempo swings and shuffles---the past few times he's just handed me the guitar and had me front a little 'trio' action---now that Rick has that HarpKing, I can't just play with LC since Rick no longer seems to bring his BFSR---probably just as well!!

I DO have a recording and MANY pics of the 1st time I sat in (my "Trial By Fire", for SURE!)----Rick's HILARIOUS rap as I was coming up to the stage was absolutely terrifying to a naive punk-ass like I was at the time---But, Charlie must have heard SOMETHING in my playing at our lesson that day or he never would have asked me to sit in---I owe him hella lot for that boost of inner confidence, having someone of his mastery do that for me---and often---well---no way I can repay him for what he's done for me musically, and as a friend, too---

Thanks again, Charlie---and Rick, Ronnie James, Lorenzo, June, Jay, Randy, Vance, Brad, and Dobie---

OK---I can die a happy man now---right after I have my way w/ Vanessa Ferlito----:drool

ac

[fretshop]

Jon Ross:

I received a Giacomo Zanoli (either 1742 or 1745 ...the ink on the label is obscured)l conert violin for a neck reset/sound posting. Amazing!! the little hand made nail used to originally secure the neck for gluing was still in place. To stratify your recent comments: an interior inspection revealed no less than three or four old set points for the sound post. Even with a loose neck, this thing filled the room withan awesome sweetness. I'm sure you would have appreciated it....other than the stinky odor of simmering hide glue.

[Strat-O]

Fretshop - Do you or Lou know Rudy Van Gelder? I know Lou's shop is up there right beside Englewood. I figured he must've grown up in that area.

[Strat-O]

Man, the '54 Reissue Les Paul is a pretty remarkable guitar. It reminds me alot of a Telecaster, but with a short Gibson scale. Its very responsive. Thanks for the feedback all you guys gave on them. I wasn't brave enough to go for the chambered version; maybe some other time. Like after I win the lottery.

[fretshop]

Fretshop - Do you or Lou know Rudy Van Gelder? I know Lou's shop is up there right beside Englewood. I figured he must've grown up in that area.

I only met Rudy once in the late 60's. I was supposed to go to the studio with Bloomers and Gravenites, but Michael disappeared somewhere not to be found, and then showed up at the Village Vanguard for a live recording two or three days later with no explanation. Nick and I made the trip in my '61 Plymouth Belvedere, and we got lost several times. Leslie Wetstein (West) was doing arrangements for Dinah Shore at the time, and was also there when we arrived. My foremost memory was all the microphones that were scattered throughout the room. I had never been in a studio before, and it was nothing like those contrived studio photos I'd seen in the fan magazines of the Beatles during their sessions....I mean, that's what I expected to see. The studio appeared cluttered and disorganized...because of course, I didn't know what the hell I was looking at, nor had I any understanding of how recording was REALLY done.

Funny you should ask...When I negotiated Leslie's interview for TQR, Rudy's studio was the first topic of our conversation.

FYI: the latest "be all-end all, superkalafragelistic you ain't shit unless you've been there" studio is The Barbershop located on Lake Hopatcong, NJ. Lou does alot of work for them. From the photos I've seen...it's the shiznitz, but does it have a vibe or soul ?

I love OUR studio...check out the site www.thejamroomonline.com (http://www.thejamroomonline.com)

[Strat-O]

The stuff thats been recorded at Van Gelder's leaves you speechless doesn't it? I'd love to see photos of it in the 60's. He ought to write a book!

[fretshop]

The stuff thats been recorded at Van Gelder's leaves you speechless doesn't it? I'd love to see photos of it in the 60's. He ought to write a book!

There is a book you might want to check out entitled "Temples of Sound", all about the famous studios of the 40's 50's and 60's.

Wynton Marsallis is BIG into vintage recording techniques, rooms and equipment. Back in the 90's, he inspired several jazz luminaries into "re-discovering" the 50's and 60's recording genre, and and has always been one of Rudy's biggest fans. (And yesssssssssss...Kim Wilson also delved into it.)

Our main recording suite at The Jamroom was designed from early 50's studio blue prints, and was built using authentic mateirals. The place is also outfitted with an array of vintage equipment. There is nothing IMO like a great Neumann U47 and a Studer A-80 Tall-Boy for live, in your face reproduction. Although I like digital, and for a long time I shrugged off vintage analog vs. digital as hair splitting....I recorded a classical piece using an early 60's Velazquez instrument (to die for), and a "gypsy" rendition of of Perfidia, using a borrowed Maccaferri, recorded on the Studer with fresh tape and a borrowed late '30s RCA 44-A mic and the difference was apparent.....very apparent.
Van Gelder had ALL of it at his finger tips.

[Echo Are]

While we're talking about old recording studios, yep, there's something magical about recordings done on 4- and 8-track machines, Scully, Ampex, etc., with 1" and 2" tape, the whole thing. IMHO when 24-track machines went into wide use in the '70s some recorded music lost something. It began to get kind of clinical and sterile. It seemed like, with that many tracks, suddenly engineers, producers, and musicians were able to anguish over the tone of the hi-hat track,lol.

[mikelaw]

anyone have any live holmstrom bootlegs either him alone or with piazza? I asked rick for some and he may have some around but just figured some people in here may have some. Ill send ya blanks or trades...

thanks! xoxo

[Scott Miller]

"It began to get kind of clinical and sterile."

Or maybe it was the music itself getting clinical and sterile.

[Dave Orban]

You guys are ALL blues posers!






















































:munch

[fretshop]

While we're talking about old recording studios, yep, there's something magical about recordings done on 4- and 8-track machines, Scully, Ampex, etc., with 1" and 2" tape, the whole thing. IMHO when 24-track machines went into wide use in the '70s some recorded music lost something. It began to get kind of clinical and sterile. It seemed like, with that many tracks, suddenly engineers, producers, and musicians were able to anguish over the tone of the hi-hat track,lol.

The more variables you add, the more you need to do to accomplish the final version. Technology is getting better every day though. Pro-tools has worked miracles for us, and I really dig DAW for alot of recording, but on certain projects, it seems like tape is the way to go. I just hope tape continues to be made.

[jumpnblues]

Hey Dave,

Didn't you used to be "old, bald, and gassy"? When did the obstreperism set in? And how did you get rid of the gas? ;):rolleyes::cool:

Tom

[Dave Orban]

Hey Dave,

Didn't you used to be "old, bald, and gassy"? When did the obstreperism set in? And how did you get rid of the gas? ;):rolleyes::cool:

TomMy gas is ALWAYS with me.

That's why I'm so obstreperous.

[Strat-O]

Van Gelder had the talent in the studio too didn't he? That is the key. If you look at the recording dates on most of his stuff, it was recorded in one day, maybe two max. Its beyond comprehension really.

Some hardcore jazzer loathe the Van Gelder sound saying its too compressed and has too much boosted treble. I believe they may have been over analyzing things a bit.

[valcotone]

I've got a number of Blue Note CDs that were originally recorded by VG, and then remastered by himself as well. They all sound fantastic to me.

[fretshop]

Van Gelder had the talent in the studio too didn't he? That is the key. If you look at the recording dates on most of his stuff, it was recorded in one day, maybe two max. Its beyond comprehension really.

Some hardcore jazzer loathe the Van Gelder sound saying its too compressed and has too much boosted treble. I believe they may have been over analyzing things a bit.

Yeah...some of those folks get a woody listening to stuff like live sets recorded "in Paris" during the 50's on old Woolensak (spelling?) or Revox home machines, and they have nothing better to do than comiserate over minutae. Sinatra loved Rudy's place, and his techniques...and if Frank loved it, I love it.

Geez...Frank...I owe him a call. I got the number right here : ecum spiri 2-2-0.

We found some of his aluminum masters in a basement in Woodbridge, NJ, and what wasn't corroded with age sounded vibrant. The out take sides were taken as scrap, and just languished in a basement until and old woman told me and Bob Porter that she had some old silver records in her cellar (?). A friend of ours had a turn table from the old Savoy Record plant in Newark...and that's how we got to listen to what ever wasn't ruined. I heard part of an awesome session with out takes and flubs where Old Blue Eyes recorded "East of The Sun & West of The Moon". Stone age technology....but brilliant.

[Strat-O]

Check this out:

http://www.amazon.com/Matador-Grant-Green/dp/B000005HDH/ref=pd_bbs_sr_4/103-1609230-9203837?ie=UTF8&s=music&qid=1193256667&sr=8-4

Check the band out!!! The clips are killer. I'm dying to own this one!

[THINSOCKS]

Check this out:

http://www.amazon.com/Matador-Grant-Green/dp/B000005HDH/ref=pd_bbs_sr_4/103-1609230-9203837?ie=UTF8&s=music&qid=1193256667&sr=8-4

Check the band out!!! The clips are killer. I'm dying to own this one!

I've been on a Grant Green kick lately. Just picked up "Green Street" and "Grant's First Stand". First Stand has Baby Face Willette playing organ. I almost dig his organ solos more then Grant's guitar. Green Street is cool too, becuase it's Green in a trio with just drums and bass.

[monstermike]

Here's my yearly plug for Baby Face's "Stop And Listen" - it's better than the more easily attainable "Face to Face," with Grant in full blues mode, bending strings all over the place, and great, simple, hip arrangements. Grant's playing on that record reminds me a little of Alex Schultz's blues-jazz playing.

[THINSOCKS]

Here's my yearly plug for Baby Face's "Stop And Listen" - it's better than the more easily attainable "Face to Face," with Grant in full blues mode, bending strings all over the place, and great, simple, hip arrangements. Grant's playing on that record reminds me a little of Alex Schultz's blues-jazz playing.

Thanks, Mike. I just ordered it. Have you heard Baby Face's "Behind the 8 Ball"? I was thinking of getting that one too.

[zappafrank]

Here's my yearly plug for Baby Face's "Stop And Listen" - it's better than the more easily attainable "Face to Face," with Grant in full blues mode, bending strings all over the place, and great, simple, hip arrangements. Grant's playing on that record reminds me a little of Alex Schultz's blues-jazz playing.

Yo Mike---thanks for the tip!---i have 'face to face', but yer 'scription of the other one sounds right up my GG alley--

Thanks!

ac

[Scott Miller]

"You guys are ALL blues posers!"

Fine, then. I'm starting the PLF, the Poser Liberation Front.
Poser and Proud!
Poser and Proud!
Poser and Proud!

[Dave Orban]

Lol!

[fretshop]

Here's my yearly plug for Baby Face's "Stop And Listen" - it's better than the more easily attainable "Face to Face," with Grant in full blues mode, bending strings all over the place, and great, simple, hip arrangements. Grant's playing on that record reminds me a little of Alex Schultz's blues-jazz playing.

Stop & Listen is # 1 !!! Every once in a while...I think I hear the influence in a certain Rhode Island guitarist.

[fretshop]

Have any of you youngsters heard of Gabor Szabo ? I've got a precious L.P. of his called "The Sorcerer" recorded live at the Jazz Workshop in Boston in April of '67.

BTW: If any of you are into Gypsy jazz guitar, I was mezmerized by a Manouche "14 fret-Orchestre" D-hole Maccaferri style guitar I borrowed recently for some session work. Low action, with that Djangoesque raspy, quivering tone, and just the right amount of sustain on the strings. I would love to check out the Modele Jazz as well. Not bad for about $2,000, (you can get a hand made one for $4,000).

[blueskalle]

I'm off to see John Nemeth & Junior Watson in Copenhagen now! On drums we will pronarn´bly have Wes Star and Kid Andersen on the Bass...:BEER

[TwoFeets]

I know this has been mentioned here before, very recently I might add, but I have to say again what a crazy-insane record Jimmie Rivers and his Cherokees "Brisbane Bop" is. Imagine if Barney Kessel and Charlie Christian joined the Texas Playboys and you have the idea.

This PSA brought to you by the Department of Redundancy Department.

[btg]

On the Grant Green front - some of his best jazzy blues type playing can be found on the albums he did with former Ray Charles sax player Don Wilkerson on Blue Note as well.

[fretshop]

On the Grant Green front - some of his best jazzy blues type playing can be found on the albums he did with former Ray Charles sax player Don Wilkerson on Blue Note as well.

Do you have his Complete Blue Note Sessions ? If you like Don Wilkerson, you'll probably like Alto man Phil Woods too. After Charlie Parker's death, He cared for, and eventually married Parker's widow Chan, and played with many R&B and pop music greats including Steely Dan, Paul simon etc.
etc during his heyday. B.B. King Loved his playing.

Junior Watson.


Just thought I'd mention Junior so mobody gets mad.

[Autopilot Slim]

Junior Watson.


Just thought I'd mention Junior so mobody gets mad.

lol!:)

Blah blah blah bla bla blah Junior Watson Bla bla blah bla.

That Don Wilkerson, Complete Blue Note album is great. I'll definitely check out the others.

[Ryguy]

I am sort of Grant Green nut, but one in particular I would recommend for those that don't have it is Born to Be Blue, with Ike Quebec. It has GG's most straight-ahead, bop playing. Still bluesy, but with a lot more Parker style runs. Plus his take on a few ballads (like my one and only love) is so pure and beautiful, that it just reinforces the notion that technique and virtuosity are wonderful, but that music is really just about expression. GG could express himself REALLY well. Another fun recording of his is Wings and Things, from Johnny Hodges and Wild Bill Davis. Killer grooves, and greasy playing. The other thing about GG that must appeal to this crew, is that the man was jsut a master of tone. Sorry, one more recommendation: Stanley Turrentine's Up at Mintons (with GG). One the few Blue Note hard bop live recordings, it really captures the edgy vibe these guys had. Plus between Grant Green and Stanley Turrentine's solos, that CD taught me more about Jazz/Blues playing than any other. Simply smokin!

[RickyKing]

lol!:)

Blah blah blah bla bla blah Junior Watson Bla bla blah bla.

That Don Wilkerson, Complete Blue Note album is great. I'll definitely check out the others.

Thou hast taken the name of thy Lord in vain.....:NUTS

[nc slim]

Get the compete Quartets w Sonny Clark(cool sruttin)check out it ain't necessarily so. Blakley makes the drums talk

[fretshop]

quote RyGuy:
Stanley Turrentine's Up at Mintons (with GG). One the few Blue Note hard bop live recordings, it really captures the edgy vibe these guys had. Plus between Grant Green and Stanley Turrentine's solos, that CD taught me more about Jazz/Blues playing than any other. Simply smokin!

What caught me immediatedly was the mindset. Listen to the way GG guides the melody to a certain note or phrase...then he lunges and takes off...."up at Minton's" is a fave. I like their arrangement of "Love for Sale" too.

Listen to Bucky Pizzarelli, Benson's Cookbook album, Kessell, GG, Mundell Lowe, and you'll hear the tremendous influence of avante garde jazz and Be Bop on today's re-cycled West Coast idiom, the phrasing, embelishments, glissandos/arpeggio's...it's ALL there: Oh...., This is a must....check out stuff by the late Billy De Arango.....He was a PLAYER

Did I really take the name of the lord in vain ? I just reviewed my prior posts, and for the life of me, I didn't see any sly inferences to Thelonius Monk....Hmmmm, maybe I should look again.

KNOW

[Autopilot Slim]

Thou hast taken the name of thy Lord in vain.....:NUTS

No blasphemy intended. Just having a laugh.

quote-Fretshop-
check out stuff by the late Billy De Arango.....He was a PLAYER

Will do. Thanks for the tip.

[THINSOCKS]

I know this has been mentioned here before, very recently I might add, but I have to say again what a crazy-insane record Jimmie Rivers and his Cherokees "Brisbane Bop" is. Imagine if Barney Kessel and Charlie Christian joined the Texas Playboys and you have the idea.

This PSA brought to you by the Department of Redundancy Department.

If your digging the Western Swing thing you should check out Billy Jack Willis (Bob's Brother). He had a NorCal band with Vance Terry and Tiny Moore. Also, if you can find it check out Jimmy Wyble's first solo record. Jimmy played in Bob Willis band and then moved on to play with Barney Kessel, Benny Goodman and Red Norvo. He's still around and still sounding great.

[fretshop]

Does anyone here own an early to mid 50's Gibson L-7C ? Classical width neck, spruce top and maple sides and back. Killer Jazz, be-bop, swing axe. I restored one for a friend some time ago. It had a Johnny Smith pickup installed. What tone. The necks on those guitars are great for running scales due to the wider fretboard and string spacing.

I finally got the complete Jimmy Bryant Box set. Love that "Liberty Bell Polka"

[valcotone]

Get the compete Quartets w Sonny Clark(cool sruttin)check out it ain't necessarily so. Blakley makes the drums talk


That's my fave GG album as well, and the best cut on there IMO!

[Scott Miller]

The 23 Club, where Brisbane Bop was recorded, is but a shadow of its former self, although as I was loading in I met a good ol' boy with spurs on his boots, so the old days live on. The new owners are highly motivated to renew its days of glory, so things are looking up.

It's always pretty cool to be up on stage and look over at the wall and see a photograph of, say, Johnny Cash, standing right where you are standing right now.

[THINSOCKS]

Does anyone here own an early to mid 50's Gibson L-7C ? Classical width neck, spruce top and maple sides and back. Killer Jazz, be-bop, swing axe. I restored one for a friend some time ago. It had a Johnny Smith pickup installed. What tone. The necks on those guitars are great for running scales due to the wider fretboard and string spacing.

Funny you should mention that, George. I've been really close this last week to trading my ES-350 for a '55 L-7C Premier with a factory McCarty pickup.

[TwoFeets]

I don't but I have been drooling over one particular L7C they have had at Wildwood for a long time now. I almost ended up with that and not my ES350.



Does anyone here own an early to mid 50's Gibson L-7C ? Classical width neck, spruce top and maple sides and back. Killer Jazz, be-bop, swing axe. I restored one for a friend some time ago. It had a Johnny Smith pickup installed. What tone. The necks on those guitars are great for running scales due to the wider fretboard and string spacing.

I finally got the complete Jimmy Bryant Box set. Love that "Liberty Bell Polka"

[TwoFeets]

Funny you should mention that, George. I've been really close this last week to trading my ES-350 for a '55 L-7C Premier with a factory McCarty pickup.

Thanks for the tip, man.

Any recommendations for recordings with Junior Barnard on them?

[HappyValley]

Stop & Listen is # 1 !!! Every once in a while...I think I hear the influence in a certain Rhode Island guitarist.

I bought that CD about a month ago the old fashioned way-in a record store- and instantly drew some parameters between Green's playing and Bill Jenning's work with Jack McDuff; In some solos, I heard the same phrases, note for note, that Jennings applied on those Prestige records. Now, they were BOTH more than likely quoting some ultra cool way hip tenor part from a heavy jazz tune that I'm completely unaware of at this point, of course...but I still find the commonalities interesting anyway.
Oh- hi Fret, both Mikes, Ricky, Dave, Feets,Frank et al.

[btg]

Junior Barnard - Look for the Bob Wills Tiffany Transcrptions. About 9 volumes. Junior is on half of them and is raw throughout. I believe he is also on a Billy Jack Wills CD, a Harley Huggins CD and a Luke Wills CD. Can't remember the titles though.

[THINSOCKS]

Thanks for the tip, man.

Any recommendations for recordings with Junior Barnard on them?

I can't remember the exact volume numbers, but the first 5 or 6 volumes of the Bob Willis "Tiffany Transcriptions" have a lot of killer live Junior Barnard solos on them (Plus, the added bonus of Willis calling Barnard "Fatboy" before and after every solo. Ha-Ha)

Have you played that double McCarty unit L-7 at Wildwood? Any good?

[aja]

Grant Green had Coltrane's rythym section for Matador. McCoy Tyner's chords are great and he really played hard I love his piano playing.

[fretshop]

Funny you should mention that, George. I've been really close this last week to trading my ES-350 for a '55 L-7C Premier with a factory McCarty pickup.

Killer guitar !! How about the wide neck profile...? Duke Robillard had a '52 with a factory style pickup ( NOT the McCarty pickguard model ) that he sold to Dave Gross. Dave Loves it.

[fretshop]

I can't remember the exact volume numbers, but the first 5 or 6 volumes of the Bob Willis "Tiffany Transcriptions" have a lot of killer live Junior Barnard solos on them (Plus, the added bonus of Willis calling Barnard "Fatboy" before and after every solo. Ha-Ha)

Have you played that double McCarty unit L-7 at Wildwood? Any good?


Frank...I'm sure you must have the Jimmy Bryant Box Set with Speedy West.

I just checked out the L-7C at Wildwood....IMO you'd do better with a standard L7-C and find a Johnny Smith pup

[DrSax]

just saw LC&the Night Cats are playing Cecil's tonite..! would love to catch that....

[THINSOCKS]

Killer guitar !! How about the wide neck profile...? Duke Robillard had a '52 with the factory pickup that he sold to Dave Gross. Dave Loves it.

I like the wide neck. My "around the house" guitar is a '65 Gibson F-25 "Folkster" model that's 2" at the nut, so the wide neck profile of the L-7 felt great.

I don't have the box set, but I have a lot of Jimmy Bryant/Speedy West stuff. Not stuff for when your in a mellow mood! TK Smith and JW Wakefield are doing a Speedy and Jimmy set this weekend at Deke Dickerson "Hillbilly Festival". Rumor is they will have a two story outhouse on stage and you can get $3 off the cover if your missing teeth!

[HappyValley]

just saw LC&the Night Cats are playing Cecil's tonite..! would love to catch that....
GO!! Charlie's playing the Django stuff like he's been doing it for 50 years and Estrin's blowing better than ever, IMHO.....plus Jay & Lorenzo are definitely the creme de la creme of working rhythm sections & are a show unto them selves.

[jimfog]

Love me some Grant Green.........amazing time, groove, endless ideas.....and SOUL.

I have probably 90% of what he released.....which is a LOT.........and my fave stuff is the mid-sixties recordings he did. He cut seemingly 1000's of sides for Blue Note from 61-62, and they're all wonderful, but harmonically his playing all comes from a similar place. A couple years later, he had expanded his concept quite a bit, while still retaining his essential groove. Some from that era:

Matador
Search for a New Land (Lee Morgan...a must!)
I Want To Hold Your Hand (w/ Larry Young and Elvin Jones!)
and one I love a LOT........a kind of obscure, bluesy organ trio - Iron City.

I even dig a lot of the later, more funk oriented projects, but I have to be in the mood.

Current GG-inspired guitarists......Peter Bernstein, and his son, Grant Green Jr.

I saw GG jr with Reuben Wilson and Bernard Purdie up in NYC at Smoke a couple months ago, and it was just a stellar, uplifting performance. They have a few cd's out, as well.

Thanks for all the Grant talk.......makes my day!

Remember.......Green is Beautiful!

- jim

[jimfog]

On another note........in any one else getting a little sick of the "vintage correct" smell that pervades the gear used on blues scene today.......especially our little West Coast corner?
I'm as guilty as anyone, but I'm getting tired of it, frankly. If I can find new gear that has the function and sounds I'm looking for, why not use it?

Looking at some of the cheapy knock-offs coming out (Harmony, Eastwood, etc) got me realizing how silly it is that I'm lusting after kinda POS REPLICAS of old, cool gear.......instead of playing newer style stuff that works and sounds 100% better, often. I guess it strikes me as the same BS that drives the new/old bowling shirt, etc look........it's just starting to get real old and contrived. God bless you if you have a real ES-5, or Espanada or something, and love using it. But chasing that by buying guitars that are similar in APPEARANCE mainly, seems a bit pathetic and insecure.

Anyway....probably my own problem.........carry on.

-jim

[HappyValley]

Jimfog-You speaketh the truth, sir.

[Autopilot Slim]

I'm as guilty as anyone, but I'm getting tired of it, frankly. If I can find new gear that has the function and sounds I'm looking for, why not use it?

...instead of playing newer style stuff that works and sounds 100% better

Amen! It definitely isn't your own problem. I'm as guilty as the next guy.
One could build/buy a modern guitar capable of all the tonal qualities needed in the context of their repertoire.

:eek: Did I just suggest owning 1 guitar? OMG, I think my wife is brainwashing me.

[Strat-O]

Damn, I got the whole crew on a Grant Green jag. I don't know 'bout the GG Jr business though...I'm not much into smooth jazz!

J-Fog - I'm a big fan of gear that sounds good and looks cool. Strangely, I can hear really well with my eyes. And, the gear usually needs to have 'the sound' of the music I'm into playing as well. I think old funky stuff is cool and I've got no interest in playing the latest shiny new guitar that out does whatever brand it was based on. I also think Mesa Boogies stink and so does the whatever the latest 18 watt Marshall knock off is. But I usually keep these and other opinions to myself because I think its offensive to openly criticize the things that other people are passionate about. But sometimes the big mouth flies open...

On the other hand, I think there's plenty of room for folks who want to wave their freak flag and play pointy guitars and Marshall stacks. Just don't make me do it, or listen to it.

I also love bands who do the civil war re-enactment thing. I like to call it good clean American fun.

:BEER

[Ryguy]

quote fret: What caught me immediatedly was the mindset. Listen to the way GG guides the melody to a certain note or phrase...then he lunges and takes off...."up at Minton's" is a fave. I like their arrangement of "Love for Sale" too.

Absolutely! Plus check out the slow blues they do, I think it's called "Later at Mintons." They both play beautiful melodic lines all over it, but in some funny sort of conversational twist, they each revers where they put the blues versus where they put the melodic stuff. So where Turrentine plays blues over the I and more melodic lines over the IV in his solo, Grant Green then play melodically over the I, and blues over the IV. Plus the rhythym section doubles up during each of their solos and mamita! that s**t just swings to high heaven. And Grant Green has a pretty heavily overdriven tone the whole show. Just as good as it gets. Everytime I find myself lost playing blues, or getting stale, I just listen to that tune, break down some lines, etc., and it also sets me straight.

[jumpnblues]

"[quote fret: What caught me immediatedly was the mindset. Listen to the way GG guides the melody to a certain note or phrase...then he lunges and takes off...."up at Minton's" is a fave. I like their arrangement of "Love for Sale" too.

Absolutely! Plus check out the slow blues they do, I think it's called "Later at Mintons." They both play beautiful melodic lines all over it, but in some funny sort of conversational twist, they each revers where they put the blues versus where they put the melodic stuff. So where Turrentine plays blues over the I and more melodic lines over the IV in his solo, Grant Green then play melodically over the I, and blues over the IV. Plus the rhythym section doubles up during each of their solos and mamita! that s**t just swings to high heaven. And Grant Green has a pretty heavily overdriven tone the whole show. Just as good as it gets. Everytime I find myself lost playing blues, or getting stale, I just listen to that tune, break down some lines, etc., and it also sets me straight.]"


Absolute KILLER recording. I've had that CD for about 10 years or so and have worn it out (if that's possible).

Tom

[musicofanatic5]

George: I would reckon a fiddle of that age would have had it's soundpost adjusted a time or two! Will we see you this weekend?
Van Gelder's-the "certain R.I. gtrist" mentioned earlier recently recorded at Rudy's with Scott Hamilton. He said it was like a pilgrimage to Mecca.
Jimfog: sounds like you need a new Ibanez Artcore! For me, a gtr has just gotta smell right! Besides, I'm not using any gtr that Jr Watson hasn't used. Ha!

[Autopilot Slim]

Here is a link to some great videos produced by a friend of mine, Mako Funasaka. Mako has been documenting the blues through videotaped performances and interviews for some years now. He produced a blues series for television called "taLkiN' bLuEs" which featured interviews and performances by alot of the artists we all know and love.
Enjoy!

http://www.youtube.com/profile_videos?user=indieeyes&p=r

Also here is a link to the taLkiN'bLuEs website.

http://www.talkinblues.com/

[djeshkov]

Hi all
Just one thing i wonder, where Holmstrom fish out that kind of style?,where i need to dig to find records like that one?

[TwoFeets]

I try not to get caught up too much in worrying about what other people are playing or wearing. If you want to wear a bowling shirt and play every guitar Holmstrom or Watson ever played, more power to you. If you want to wear a hat, bolo tie and cowboy boots and play a beat up Strat while you play "Cold Shot" for the millionth time, it may not be my cup of tea, but more power to you too.

Personally I dig the bowling shirt thing; I like to dress fairly sharp for gigs. However the tie-and-jacket thing is just too formal for most places these days, and it's just too damn hot here in Florida. All bandwagon-jumping aside, I think the bowling shirt or panel shirt strikes a good compromise between casual and formal. I have a few Western-style shirts too but they just don't fit with the idiom.

As far as gear goes, I've mentioned several times before how I'm sorely tempted by H44's even though history has proven that I just can't play them. So I'm a whore for cosmetics, even for ugly guitars. I can't help it.

However I'm currently on the trail of a Gretsch Electromatic hollowbody, which is not a West Coast Blues sanctioned axe, and I'm hoping it doesn't get me thrown out of the club. :D

[Strat-O]

Dos Peduloso - I wanted a Gretsch pretty bad too. There's one model that looks more jazz hollow body and comes in a great looking sunburst. I wanted one bad but didn't want to buy one till I tried one. Finally found one in Athens. The guy handed it to me across the counter and I grabbed it by the neck first...it was pencil thin!!!! I handed it right back to him without playing it. I couldn't believe how thin the neck was. Maybe they aren't all like that though.

[Strat-O]

Hi all
Just one thing i wonder, where Holmstrom fish out that kind of style?,where i need to dig to find records like that one?

Hey man -- that is a good sounding song isn't it? If I had to "label" it, I'd say it was an Americana sounding tune. If you want more like that you ought to get Jeff Turmes' albums. His voice sounds so much like Holmesy its bizarre. And Jeff is a great songwriter. Outside that, just dig into the American scene some. Alot of the folks have that gravely voice but there are a bunch with smoother voices. Tons of a great songwriters. Lyle Lovett has a huge body of work. The Derailers might be up your alley too. There's another guy who's name I can't remember; late 30's, short gray hair, wears Buddy Holly glasses...

[fretshop]

George: I would reckon a fiddle of that age would have had it's soundpost adjusted a time or two! Will we see you this weekend?
Van Gelder's-the "certain R.I. gtrist" mentioned earlier recently recorded at Rudy's with Scott Hamilton. He said it was like a pilgrimage to Mecca.
Jimfog: sounds like you need a new Ibanez Artcore! For me, a gtr has just gotta smell right! Besides, I'm not using any gtr that Jr Watson hasn't used. Ha!

If it was Watson's axe...I probably made the pickguard....(shhh...that's where Junior really gets his tone from).

See you in New Hope.

Rudy V. had microphones that we can only read about, or see at vintage shows...old Capitol and RCA stuff, Neumann U-47s...etc.

Check this out:
mixonline.com/mag/audio_rudy_van_gelder/

[djeshkov]

I try not to get caught up too much in worrying about what other people are playing or wearing. If you want to wear a bowling shirt and play every guitar Holmstrom or Watson ever played, more power to you. If you want to wear a hat, bolo tie and cowboy boots and play a beat up Strat while you play "Cold Shot" for the millionth time, it may not be my cup of tea, but more power to you too.

Personally I dig the bowling shirt thing; I like to dress fairly sharp for gigs. However the tie-and-jacket thing is just too formal for most places these days, and it's just too damn hot here in Florida. All bandwagon-jumping aside, I think the bowling shirt or panel shirt strikes a good compromise between casual and formal. I have a few Western-style shirts too but they just don't fit with the idiom.

As far as gear goes, I've mentioned several times before how I'm sorely tempted by H44's even though history has proven that I just can't play them. So I'm a whore for cosmetics, even for ugly guitars. I can't help it.

However I'm currently on the trail of a Gretsch Electromatic hollowbody, which is not a West Coast Blues sanctioned axe, and I'm hoping it doesn't get me thrown out of the club. :D


Hope for you understanding ) the only thing i have wanted to knew is where i can hear more songs in that style ) That's not question on wearin' something,and what's tha shame of digin the music? we all do it in our own ways.

[djeshkov]

Hey man -- that is a good sounding song isn't it? If I had to "label" it, I'd say it was an Americana sounding tune. If you want more like that you ought to get Jeff Turmes' albums. His voice sounds so much like Holmesy its bizarre. And Jeff is a great songwriter. Outside that, just dig into the American scene some. Alot of the folks have that gravely voice but there are a bunch with smoother voices. Tons of a great songwriters. Lyle Lovett has a huge body of work. The Derailers might be up your alley too. There's another guy who's name I can't remember; late 30's, short gray hair, wears Buddy Holly glasses...

That's sound for me not just like blues or rockabilly or r'n'b ,absolutly new style to my ears(not just by voice,but whole thing) so thats where question came from,and thanks i'll lookin' for Turmes and others too..

[RickyKing]

I bought that CD about a month ago the old fashioned way-in a record store- and instantly drew some parameters between Green's playing and Bill Jenning's work with Jack McDuff; In some solos, I heard the same phrases, note for note, that Jennings applied on those Prestige records. Now, they were BOTH more than likely quoting some ultra cool way hip tenor part from a heavy jazz tune that I'm completely unaware of at this point, of course...but I still find the commonalities interesting anyway.
Oh- hi Fret, both Mikes, Ricky, Dave, Feets,Frank et al.

Back at ya!:BEER

[TwoFeets]

Have you played that double McCarty unit L-7 at Wildwood? Any good?


Forgot to address this one earlier, Frank - sorry! No, I haven't played that one in person but I played a few of its cousins at the Orlando show last year and I liked all of them. I just wasn't sure about how well the acoustic/electric configuration would work for me.

[Scott Miller]

I saw the Insomniacs tonight. That's a real good band. Understatement of the century right there. A keyboard player who stays almost entirely within eight linear inches on the middle of the keyboard... I call that a guitar player and bass player's dream. A drummer who gets a beat and just plays it. Great guitar playing, although there should be a law that you can't be that young and that good.

Anyone got a Magnatone 260 or 280 they want to unload? The vibrato on that thing... wow. Not something you want for every song, but... wow.

[musicofanatic5]

"A keyboard player who stays almost entirely within eight linear inches on the middle of the keyboard"

Yes! I am a fan of that style, too. I call it "handcuffed style". Matt McCabe (Anson, Roomful, Duke, Bluetones) plays like that. All hunched over with his elbows in his lap! Just 'cause you have seven (or however many?) octaves doesn't mean you have to use it all! I play upright bass, but I don't feel compelled to use all of that portion of the fingerboard that hangs out over the body (well, mostly not)!

[bluesjuke]

I also love bands who do the civil war re-enactment thing. I like to call it good clean American fun.

:BEER




You mean the war between the Tubes and the (solid) States?

I understand Jim's point well but I'm happy with that some of the gear by Gibson and Fender in particular along those lines described do the job well and sometimes better that we have available and affordable by comparison.

Big emphasis on Fender.
The other boys Eastwood, and Harmony still have to have a trial by fire in my case.

[safecracker]

[quote=Scott Miller;

Anyone got a Magnatone 260 or 280 they want to unload? The vibrato on that thing... wow. Not something you want for every song, but... wow.[/quote]
Scott, I recently scored a 260 from a older gentleman in Wisconsin that used it for Polka. It is absolutely incredible. It's at my techs' right now getting serviced and a three prong cord installed. The amp is truly amazing. I've read that the Austone Vibro Stomp pedal is pretty close sounding to a Maggies' pitch shifting vibrato,but I opted for the amp instead. My main influence for getting the 260 is from years of listening to the playing of Robert Ward. Not WC approved, but a stellar musician IMHO. There is one youtube with Robert I've found.I don't know how to post the link,but go to youtube and type in Robert Ward, it's the clip from "delmarkbob". It's a video of several Delmark musicians playing session work with Robert toward the end. Last night,I played a local jam,and used my little Maggie 213 Troubadour for harp and guitar (strat). First trip out with a Maggie for harp,and got lots of compliments on the tone of the little bugger. Scott, if you get flooded with people wanting to unload their 260's or 280's, I'd buy another. You don't want to run out of amps ya' know! LOL

[aja]

I added the insomniacs to my myspace page. Killer stuff for sure. They just got signed by delta groove.

[zappafrank]

I added the insomniacs to my myspace page. Killer stuff for sure. They just got signed by delta groove.


Vyasa (pronounced VEE-oss) Dodson is a buddy of mine---jam with him a lot, swap bootlegs, etc...great player with a real love of all that swingin' goodness, and very dedicated and talented with real good ears---and he just keeps getting better---def one of the highlights of the Portland blues scene!---He must have taken Alex w/ him on this tour...I don't get to see that all that often in PDX---usually a trio.....

It's so cool to see you guys writing about a guy from MY local scene for once! LOL!---AND---he deserves it!---You should also hear more Marco Savo---DAYUMMM!

:BEER

ac

[Raymond]

Are you Grant Green admirers familiar with one of his first if not the first album he recorded as a sideman on organist Sam Lazar's 'Space Flight'?
What a cool record that is.
Willie Dixon on the bass.Yep.Recorded in Chicago in 1960.They do a lot of plain old 1-4-5 blues,not the more jazzy 2-5 progression.Some cheesy organ playing, which I love.A propos organ: who's with me on Bill Doggett's Hot Doggett being his desert island record?

Ray

[Dave Orban]

Just saw Little Charlie and the Nightcats tear-up the Bucks County Blues Society's annual Halloween bash.

These guys are absolutely on fire these days. Charlie's solos in "Eyes Like a Cat" and "Handle With Care" were absolutely off the hook. He is without a doubt, one of the best guitarists playing today! And Rick Estrin just OWNs the harmonica...! :dude :dude :dude

[jimfog]

Hey,

Got a party of 4 coming up to Havana to see Duke tonight. Hope to run into you, Dave......and meet Fretshop and Musico, too.

cheers,

jim

[Dave Orban]

Hey,

Got a party of 4 coming up to Havana to see Duke tonight. Hope to run into you, Dave......and meet Fretshop and Musico, too.

cheers,

jimNah, gonna have to pass. The Little Charlie show last night took my last chit for the weekend. Say "hi" to everone for me. ;)

[Dave Orban]

Interestingly enough, I'm out for a quick dinner this evening at a Ruby Tuesday, and what should come on the restaurant's background music station but Little Charlie's "Bayview Stomp"...!

I was just in the middle of telling my wife how great Charlie sounded last night, when this comes on the radio. I damned near fell out of my chair!

[frank62]

^Now how friggin cool is that!!!

[fretshop]

Havana Club, New Hope, 10/28/07 :

I finally met Jim Fogarty, Melissa, and their families last night at the Duke show. I Also got to spend a little quality time with Jon Ross, Mark Texeira and Doug James. Duke did alot of jazzy arrangements this time around, and gave his Gold Top, Esquire and Gretsch a real work out through the New Louis adaptation of the revered Fender Tremolux. I got to put that very amp through its paces at the shop, Lou decided to go with the G12-30 for a speaker, and I finally got to hear it in a big room with a full band. It's arguably MY personal favorite Louis amp. Duke used it at Mexicali Blues in Teaneck on 10/27, and he did nothing but rave about it all evening...The amp responded superbly to Duke's effects and filled the room with sound with the volume just over 2 on the dial !!! The amp would cost approximately the same as a late 50's narrow panel Pro in fine condition.

A matter to ponder:

I would think that the dilemma for many knowlegable prospective amplifier purchasers working within the $2,500-$3,000 price range would be the lure of investment potential present in a vintage/collectible piece vs. the pragmatic, "sensible" purchase of great tone and reliability along with an almost predictable depreciation factor. On the other hand, finding a pre-owned Louis amp is so rare at this moment, I would not hesitate to say that depreciation would be minimal if at all.

[fretshop]

I monitored the PBS programming schedule in my cable area, and could not find "Jimmy Reed Highway" on the boards although it was advertised. Any body catch it? It was supposed to air on 10/27

[aja]

I couldn't find the "Jimmy reed blues highway" Austin City Limits show either.

[valcotone]

Me neither... here's a clip:
http://www.pbs.org/klru/austin/artists/3304_jimmyreed_song.html

[THINSOCKS]

I monitored the PBS programming schedule in my cable area, and could not find "Jimmy Reed Highway" on the boards although it was advertised. Any body catch it? It was supposed to air on 10/27

My Tivo caught it. I watched it yesterday. It was ok. I dug Jimmie's funky playing and Wes Starr.

[valcotone]

My Tivo caught it. I watched it yesterday. It was ok. I dug Jimmie's funky playing and Wes Starr.

'Socks... I suspect you're a closet drummer! :BEER

[aja]

Mighty Blue Kings
http://www.youtube.com/watch?v=61oZXVyQGfA

[THINSOCKS]

'Socks... I suspect you're a closet drummer! :BEER

Ha-Ha. Nope. I just think that there are so few real "blues" drummers out there that's it's exciting when I see someone who can actually play the stuff. Those are the guys who always decide for me if it's going to be a happening gig or not. The singer can suck, the harp player can literally suck, the bass player can be stiff, but if the drummer swings then I can block everything else out. Ha-Ha.

[TwoFeets]

Mighty Blue Kings
http://www.youtube.com/watch?v=61oZXVyQGfA

Thanks for that one!

[TwoFeets]

Well, after a couple of long months and a bunch of very late nights (which will continue for a while, at least for the near future) my wife and I opened our barber shop this morning. Maybe once I get done getting everything in place, I'll have a chance to 'shed again... but it'll probably be a while.

http://www.carrsbarber.com

[monstermike]

You know what this means, of course?

QUARTET!!!!

[TwoFeets]

LOL don't think we haven't thought about it!

All I've been able to do lately is quote the Michael Palin/Terry Jones barber shop sketch, where Palin is a psychotic barber trying to keep himself from cutting up Jones who's sitting in the chair.

That, or the Bugs Bunny/Elmer Fudd Barber of Seville episode.

[groove_king]

Wow .. a barbershop! Congrats TwoFeets. Wishing you mucho success and I hope that this means you haven't forsaken the blues for period correct renditions of Coney Island Baby. :)

[Dave Orban]

I'll have to stop by for a quick haircut.

[TwoFeets]

Wow .. a barbershop! Congrats TwoFeets. Wishing you mucho success and I hope that this means you haven't forsaken the blues for period correct renditions of Coney Island Baby. :)


Not at all - actually we paid up our ASCAP and BMI dues specifically so I could play my iPod (which I thank you all for shaming me into purchasing and learning how to use) over the PA system - so there's a healthy dose of blues along with some jazz and select rock stuff.

[Scott Miller]

RJ was talking about opening a barber shop in Arkansas. Probably simpler haircuts there.

[Short Bus]

Jimmy Reed highway wasn't on in Tampa this weekend. Looked at the schedule and its' going to play this coming Saturday, 11-3. Maybe its the same in other places.

Hey Feets, congrats! Also, I saw that John Nemeth is going to be in Cocoa Thanksgiving weekend. Are you in town then?

[Short Bus]

What the **** chord is he playing?

In the Magic Touch on youtube,

http://www.youtube.com/watch?v=5Gwn5MD99uk

what chord is Junior playing at 1:35?

I'm getting this:

-------------------------
-------------------------
------9------------------
-----10------------------
-----12------------------
-------------------------

Which would be Cm6. Even using that short upstroke he's using it ain't sounding right. What am I missing?

BTW
I've got to give several +1s to the Magic Touch CD. The more I listen to it, the more incredible it gets. There's a clunker or two on it, to be sure, but wow....

[GOLDENSTRAT]

he's going to the 4 chord there,

some kind of F9
-------------------- ------------------------
------------------- -----------------------
----8------------ ---8----10--11--11--10---8--10---8---
----10----------- ---10---12--13--13--12--10--12--10
----12---------- -----------------------------------
-----------------, then ------------------------------------

try sumthin' like that, fred

[TwoFeets]

I could be wrong but it also sounds/looks to me like he's adding the low E at the 12th fret.

[GOLDENSTRAT]

i agree it looks like that but it doesn't sound good, the Eb (11th fret) would sound right.

[HappyValley]

Mighty Blue Kings
http://www.youtube.com/watch?v=61oZXVyQGfA
Miss that band a lot- they were great.

[HappyValley]

who's with me on Bill Doggett's Hot Doggett being his desert island record?

Ray
I sure am...love that album.

[TwoFeets]

The JLV on Austin City Limits aired here in Orlando at midnight a couple of nights ago. Jimmie's playing a Thin Twin and there's also a very nice early 50's ES350 onstage.

[KBR]

looked like an 11th Chord, then a Mjor chord movin it around.
An 11th Chord is a major Chord with a note on the Low E string, then drop that low E note you have a simple major triad.
Like w/ the capo C, D, Eb, D
!st chord was a C 11th I believe.

I ain't near a Guitar but looks right to me.

[musicofanatic5]

What the **** chord is he playing?

In the Magic Touch on youtube,

http://www.youtube.com/watch?v=5Gwn5MD99uk

what chord is Junior playing at 1:35?

I'm getting this:

-------------------------
-------------------------
------9------------------
-----10------------------
-----12------------------
-------------------------

Which would be Cm6. Even using that short upstroke he's using it ain't sounding right. What am I missing?

BTW
I've got to give several +1s to the Magic Touch CD. The more I listen to it, the more incredible it gets. There's a clunker or two on it, to be sure, but wow....

It's just a triad consisting of A on the A string, C on the D string and Eb on the G string: the third, fifth and flatted seventh intervals of the IV (F) chord. His third finger is over the Eb on the E string (11th fret), but does not appear to be fretting the note, although that note would work. The double stop on the D and G strings he moves up a whole step then a half step suggests the #IV dim. Try moving that double stop (any two notes a step and a half apart) in whole-step, half-step, whole-step, half-step, etc. increments up and down the neck for big diminished fun. That's an 11th chord?!?! Hmmm...

[Short Bus]

Eb on the G string. Thats what I was missing. And that would be over the IV chord.

Thanks guys!

[fretshop]

Johnny Smith

[monstermike]

I always saw that chord as an Albert Collins chord - for the IV chord, he would just put his finger two frets above the capo on the A string, but he was in F minor tuning (FCFAbCF, which he called D minor, but I think that was just to mess with people - Albert knew his stuff). In standard tuning, key of C, it looks like this:

I chord (C7):

x
x
9
10
13
x

IV chord (F7) -

x
x
8
10
12
x

V chord (G7) -

x
x
10
12
14
x

A lot of Albert's organ style shuffle comping was just the A and D strings of those shapes - it's one of my favorite things to play.

[Strat-O]

John Nemeth, ushering a new era in stage presence and stage props with a slice of pizza and glass of coke to mesmerize the audience using both hands while performing. He did manage to hold off until 2:25 into the song before he went for another bite of the pizza.

:cool:

[TwoFeets]

John Nemeth, ushering a new era in stage presence and stage props with a slice of pizza and glass of coke to mesmerize the audience using both hands while performing. He did manage to hold off until 2:25 into the song before he went for another bite of the pizza.

:cool:

I noticed that he was still chewing the LAST bite well into the first two minutes, which might explain his restraint in taking another.

Much better timbre to your voice if you chew 32 times as opposed to 21 or 23 times.

[valcotone]

Strat-O... yeah, but did he drop any pizza or spill any coke?

[Scott Miller]

Eating pizza while singing. What a cheesy gag.