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West Coast Blues Thread Version 4.0

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t135

Platinum Supporting Member
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Thanks for the Hollywood Fats news and pics. Can't ever get enough of that guy.

I've been hoarding those blue frame Eminence 1028-P (P10R with a paper dust cap) for years now. I'm about to get rid of 8 of them.
 

Guitar Matt

Member
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Living in the NYC area, i'm very lucky to have three great public radio stations that play jazz and blues pretty much 24/7,no joke.
Been listening to Prezfor 2 days strait cuase they run his music for 48 hours. On Saturday they play Bird for another 48 hours.
Can't get enough
 

pete kanaras

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2,949
wkcr 89.7 is the greatest fm station of all time bar none. i've been listening to it since i was 15 or 16, and i'm 52 now. i actually got to talk to phil schapp once on the phone, and i felt like i was speaking with the almighty one himself! when miles davis died they played nine DAYS of miles non stop, 24/7, and only repeated themselves when they felt like it. yep. and their birthday celebrations are the stuff of legend. kcr is an irreplaceable american cultural treasure, and you can listen online anywhere in the world: http://www.columbia.edu/cu/wkcr/
 

fretshop

Member
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2,010
Living in the NYC area, i'm very lucky to have three great public radio stations that play jazz and blues pretty much 24/7,no joke.
Been listening to Prezfor 2 days strait cuase they run his music for 48 hours. On Saturday they play Bird for another 48 hours.
Can't get enough
Remember you were asking where I got ideas for my Be-bop and swing solos....? So now you know.

Are you playing out this weekend ?
 

pete kanaras

Member
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2,949
sorry the link won't take. here are some highlights from the interview. sorry for the length but it's worth the read...

"One of the highlights of CURC -- the student interviewers had people on like Bela Bartok, who was a Columbia music professor at the time, and played them jazz records to get their reactions. None of the broadcasts with Bartok survived. However, another music professor, who was on the following week's program, agrees with Bartok, who had apparently reacted favorably to Coleman Hawkins. The record that was played for Bartok, and indeed for all music professors who were on, was "Body and Soul".

During World War II, there were commercial interests which sponsored war broadcasts of great jazz music -- Coca-Cola's "spotlight on bands", for instance -- and they would have these at semi-public places, like a University campus, or an army base. A number of these were originally broadcast on WKCR live from campus. Tommy Dorsey's Orchestra would be a prominent one.

Far more interesting, in terms of live jazz, are the "Delayed on Disc" broadcasts from Minton's Playhouse on 118th Street. We didn't have a radio wire to Minton's Playhouse -- they would go there with a disc recorder, and would have to run the records back here to play them. So they presented it like it was a live program, but it was "delayed on disc." Clearly the pivotal figure here was Jerry Newman. There are four Minton's Playhouse broadcasts, of which he is the announcer on two of them. An anonymous second voice delighted me doing the announcements on one of the two other broadcasts -- he gets up to announce the band, but apparently there was a bit of bickering over whose band it really was. Joe Guy thought it was his band, Kenny Clarke thought it was his band, Thelonious Monk may have thought it was his band. So he's announcing, "this is Joe Guy's band at the Playhouse, featuring..." -- and he makes a big deal about featuring Kenny Clarke, "and on bass..." -- and you can see he's looking around, that guy's name is... "oh yeah, Nick Fenton" -- and then you realize he doesn't know the piano player's name, but he remembers everybody's been calling him "Monk". So he goes, "and the piano player's name is Monk -- I'm sorry I haven't had time to find out his last name." That's in the archives -- it was re-placed there by yours truly -- the original discs are long gone. The sense of humor of these early WKCR people is very evident; they don't have any formal legal restrictions, so on one of them the guy goes, "this is radio station...", and then he belches."

Can you name all the WKCR jazz festivals?

Let's see if I can name them all -- I betcha I can. The first one was Albert Ayler in the fall of 1970. I remember it being because of the discovery of his death. However, [drummer] Sunny Murray came to this station about eight years ago, and complemented me for doing it before he died. I don't know if that's true, but if Sunny Murray wants to say so, he's got it. The next one was John Coltrane, September '71. February '72 was Mingus; he was the first to participate. Then spring-summer of '72 was Archie Shepp. He was often at the station around this time. Following that would be Charlie Parker, August-September of '73. December '73 was Fletcher Henderson. April of '74 was Duke Ellington. Duke was up here in May of '73 -- he asked to use the phone and split before he would do an interview. August of '74 was Clifford Brown. February of '75 was Ornette Coleman [he participated]; March of '75 was Bessie Smith, and October of '75 was Coleman Hawkins.

March of '76 was Thelonious Monk. There was a guy on the air doing that standard gibberish about Monk: "and Monk, playing the wrong notes on the piano, is able to create this kind of music....". Anyway, Monk called the Columbia switchboard, and the Columbia switchboard got in touch with me and said that Thelonious Monk had called to say that we should tell the guy on the air, "The piano aint got no wrong notes."

April of '76 was Lester Young. August of '76 was King Oliver. March-April of '77 was Eric Dolphy. January of '78 was Roy Eldridge [he participated]. March of '78 was Sonny Rollins [he participated]. May of '78 was the AACM [Association for the Advancement of Creative Musicians] festival. Most of the AACM had interviews. Leroy Jenkins, I remember, was a great interview -- he was a very cheerful person. I'll never forget, at the end of it, his saying, "Thank God for the AACM. If it wasn't for the AACM, I would have ended up just another bebop musician."

August of '78 was the first Lost Masters festival, in which we did Bubber Miley, Jimmy Harrison, Frank Teschemacher, Dick Wilson, Herschel Evans, Herbie Nichols, Fats Navarro, and Jimmy Blanton. December of '78 was Chick Webb. March of '79 was Cecil Taylor [he participated].

July of '79 was Miles Davis. He called in a lot -- I fielded many of those phone calls, of which the only one I really deem worthy of surviving in history is his onomatopoetic listings of the correct names and titles of his albums that had only come out in Japan up to that point. I took them down, and then, at the end of what was over two hours of information, he said "You got it?". I said, "Yes, Mr. Davis" -- I Mr. Davis-ed him the whole week, to be truthful. And he said, "Good. Now forget it. Forget it. And play Sketches of Spain right now!" So I walked into master control, and just to make it more dramatic, I picked up the needle with the pot up, and plunked it down hot. We played all of Sketches of Spain and then went back to the chronology.

In 1980, we did Teddy Wilson in March, Oscar Pettiford in April, and Louis Armstrong in July. Teddy Wilson participated. In 1981 it was Ben Webster in January, Max Roach in March [he participated], Bix Beiderbecke in August, and Steve Lacy in November [he participated]. In March of 1982, the second Lost Masters Festival was Chu Berry, Freddie Webster, Clarence Eugene Shaw, and Jimmy Noone. Then Benny Carter was in August [he participated]. Mary Lou Williams was May of '83. Charlie Christian was July of '83. Then December into January, '83 to '84, was Earl "Fatha" Hines.

Count Basie was August of '84. Basie refused to have us do the festival in August of '82 -- he said to wait for his eightieth birthday, and when Count Basie tells you what to do, you do it. I had great regrets, of course, because he died in April of '84, and would have participated in the festival.

The third Lost Masters Festival, in May 1985, was Joe Smith, Lucky Thompson (the only living lost master), Booker Little, and Scott LaFaro. Summer '85 was Jack Teagarden. November of '85 was Jelly Roll Morton. Cannonball Adderley was May of '86. Summer '86 was Eddie Durham [he participated]. Rahsaan Roland Kirk was August of '86. Sun Ra was April of '87 [he participated], in conjunction with the New Music Department. Dizzy Gillespie was May of '87 [he participated]. Sidney Bechet was May of '88. Summer of '88 was the fourth Lost Masters Festival, with Big Sid Catlett, Ma Rainey, Billy Strayhorn and Serge Chaloff. Fats Waller was May of '89. Art Blakey was November of '89 [he participated]. May of '90 was Ella Fitzgerald and Lionel Hampton [he participated]. May of '91 was the fifth Lost Masters Festival, which was Frankie Newton, Lonnie Johnson, Phineas Newborn, and Tadd Dameron. And we did Don Cherry [he participated] this May, with the New Music Department. [The Milt Jackson festival took place December-January 1993.]
 

Thinsocks

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2,442
March of '76 was Thelonious Monk. There was a guy on the air doing that standard gibberish about Monk: "and Monk, playing the wrong notes on the piano, is able to create this kind of music....". Anyway, Monk called the Columbia switchboard, and the Columbia switchboard got in touch with me and said that Thelonious Monk had called to say that we should tell the guy on the air, "The piano aint got no wrong notes."
That's great.
 

hasserl

Member
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4,711
Re the discussion of tone caps in guitars, I'll admit that I haven't done a lot of experimenting with these, most of my development work has been spent on amps; but I do understand how caps work, I'm well versed in electronics theory, and I have to say that I just don't get how tone caps in a guitar, a completely subtractive circuit, can have such a profound effect on the tone. I'm speaking of cap TYPE, not capacitance VALUE. Obviously the value of the cap will have a clear effect on tone, but cap type, eh, that's a different story. Keep in mind that none of the signal is passed thru the cap, only that part of the signal that you are bleeding off thru the Tone pot, which is subtracted from the signal. Any tonal qualities left behind were already there to begin with, nothing new is added by the cap.

I don't mean to argue with anyone about the effect of different cap types, just engaging some discussion. I'm really skeptical that there is any noticeable difference at all. You may blow this off and say since I haven't experimented I don't know, and that you all that have done it have found these huge differences, but my response is that aural memory lapses in a short time and that maybe in time spent swapping caps you've lost the memory of tone and/or response of the original cap. What you hear with the new cap may be your mind playing tricks on you; or may be the result of different capacitance values, not cap type. Again, I'm saying MAYBE; this is a statement of skepticism, not a statement of fact. But I think in order to really discern this you need to put the caps on a switch and switch between them listening to them live time to really discern any differences, which differences if they exist are bound to be subtle

This discussion came up on a pickup makers discussion board that I visit from time to time, and the discussion went back and forth for quite a a few pages with no consensus formed. Those who doubt the effect, and usually have in depth technical explanation to support their position, remained in doubt; those that belive it remained conviced of what they hear regardless of what electrical theory says, though no one was willing to test their ears in a blind test. Jason Lollar was part of that discussion, and he also is on the skeptical side. Not saying there is no difference, just not convinced that there is, and if there is a difference it is much more subtle than those that belive the effect claim. Jason rigged up a rotary switch with several different types of caps, all measured to have the same capacitance, on a test guitar and he reported that he could not hear any difference between them. So, if you're getting ready to slam me because of lack of experience or tin ears, this is not my findings but a dude that has pretty good rep in the business.

Again I'm not looking to argue with anyone, just saying that I don't get it. Some good discussion would be cool, name calling and mud slinging I could do without. It's a purely subtractive circuit, nothing can be added to the tone, only the amount of signal bled off can be effected. How do you explain the differences you hear? Have you done any blind testing? How did you do it? What were the results?
 

Guitar Matt

Member
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71
wkcr 89.7 is the greatest fm station of all time bar none. i've been listening to it since i was 15 or 16, and i'm 52 now. i actually got to talk to phil schapp once on the phone, and i felt like i was speaking with the almighty one himself! when miles davis died they played nine DAYS of miles non stop, 24/7, and only repeated themselves when they felt like it. yep. and their birthday celebrations are the stuff of legend. kcr is an irreplaceable american cultural treasure, and you can listen online anywhere in the world: http://www.columbia.edu/cu/wkcr/
I think i know what you mean about Phil Schapp being the allmighty one. Their might be not be a living person in the world that knows more about jazz then phil schapp. I listen to Bird Flight almost every mouring and i feel like i'm in a class room learning about all this great jazz stuff. When Freedie Hubbard died they played his music for 4 days. I learned so much.
I highy suggest checking out this radio station online, along with WBGO 88.3 in Newark NJ. BluesVille, Real Jazz, Forgetabout it! WKCR and WBGO are real Jazz and Blues stations.
Speaking of playing all down strokes, earlly today on WKCR i heard a live jam from 1940 with Charlie Christian, Benny Goodman, Count Basie and Lester Young trading solo's on some great swinging blues. UNREAL STUFF!
 

Guitar Matt

Member
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wkcr 89.7 is the greatest fm station of all time bar none. i've been listening to it since i was 15 or 16, and i'm 52 now. i actually got to talk to phil schapp once on the phone, and i felt like i was speaking with the almighty one himself! when miles davis died they played nine DAYS of miles non stop, 24/7, and only repeated themselves when they felt like it. yep. and their birthday celebrations are the stuff of legend. kcr is an irreplaceable american cultural treasure, and you can listen online anywhere in the world: http://www.columbia.edu/cu/wkcr/
Remember you were asking where I got ideas for my Be-bop and swing solos....? So now you know.

Are you playing out this weekend ?
Played last at ruthie's with your blues Jr. Yeah the Bill mod makes a HUGE difference. 2 night I'm choping wood.(duo gig) SAT. in North maryland with Ken Addesa from Enzo and the Bakers on drums.
 

straightblues

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9,481
I'll admit that I haven't done a lot of experimenting with these, .... and I have to say that I just don't get how tone caps in a guitar, a completely subtractive circuit, can have such a profound effect on the tone.
I have been to your house before and I know you have test leads. Pull out the cap, hook one end of your test leads to the pot and then plug the other end onto the caps. You will be able to hear the difference in caps. Whenever I get a new guitar or new pickups I do this. I have about 30 caps that I go through until I get the one I like the tone of the best. If after trying a few you don't hear a difference than you should buy the cheapest caps you can find. I hear the difference so I seek out the ones that sound the best. Some times it turns out to be the cheap ones from Radio Shack but not very often.
 

fretshop

Member
Messages
2,010
Played last at ruthie's with your blues Jr. Yeah the Bill mod makes a HUGE difference. 2 night I'm choping wood.(duo gig) SAT. in North maryland with Ken Addesa from Enzo and the Bakers on drums.
We gotta do some gigs together....before Carolyn sells my guitars. She said if I don't start playin' again, she'd sell my stuff and put a down payment on another Beemer. Hellllllp!!!

I'll be home all weekend. Gimme a call from the road.
 

fretshop

Member
Messages
2,010
I have been to your house before and I know you have test leads. Pull out the cap, hook one end of your test leads to the pot and then plug the other end onto the caps. You will be able to hear the difference in caps. Whenever I get a new guitar or new pickups I do this. I have about 30 caps that I go through until I get the one I like the tone of the best. If after trying a few you don't hear a difference than you should buy the cheapest caps you can find. I hear the difference so I seek out the ones that sound the best. Some times it turns out to be the cheap ones from Radio Shack but not very often.
From my personal research..and please understand that my ears are my own...not every one else's...certain caps, not ALL caps...seem to make a tonal difference in the harness. To add to the Conundrum...let's combine the caps with potentiometers from different manufacturers...and we've got alot of possibilities. Sometimes the difference is apparent, and sometimes its VERY subtle. A little reminiscence here: I "lent" a certain magazine publisher that Tweed 135 and I know very well(no name mentioned here) some NOS, virgin, never used caps from the 40's - 60's for a test, because he didn't believe there was even a minute difference in tone due to a capacitor's materials of manufacture and design....he installed the caps in his personal instruments, then told me he'd had a revelation, and then sent me a thank you e-mail...of course, I never got my stuff back (needless to say we don't talk any more). Anyway....for all my labors and generosity, I did however get a kudo from the publisher's house guest, Peter Stroud from Cheryl Crow's band after the publisher installed a set of my caps in his Les Paul guitar. Any way....I use a variety of different caps in my guitars....I just don't like Orange Drops in guitar tone circuits, but Guitar Matt loves 'em because they boost the high end "chirp". I use Mylars with my Fralin Tele pups because I like the way they work with CTS pots...not everybody likes 'em. It's all subjective, and not everybody will hear the difference. To My ears, Those caps make Vanzandt pups sound dull...

NOW...in my amps...that's another story. I can't stand Orange Drop 715P's...Jesus, they take the paint off the walls, BUT Cesar Diaz used them in both my Super Reverb and SRV's, (I was at his shop, and watched him re-cap the amps and voice them side by side). He meticulously metered every cap and numbered them with a Sharpie pen, and then he removed the silver mica caps from the treble stack of my Super and replaced them with 250pf ceramic caps. The amp jumped back to life. You can hear my Super at the 2006 Boston Blues Festival (You Tube)with both Ronnie Earl and Anson F. playing out of it. They loved it...I think the 715P's make it sound a bit too quick, too "alive" to pick attack, but that's just me...consequently I don't use the amp, but every body else loves it...go figure. Capacitors AND resistors in my very humble opinion are like great wines and Scotch whiskeys of tone , and also kinda like uh... kinda like...wives...they either irritate the daylights out of you, or make you glad to be alive. I AM NOT commenting further...I need a roof over my head. (I should check to see if the ol' lady has a treble bleed cap...even when she lowers her voice, she sounds like a banjo.)

XO

G-Man
 
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pete kanaras

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2,949
She said if I don't start playin' again, she'd sell my stuff and put a down payment on another Beemer. Hellllllp!!!

then git yer rusty dusty down to bawlmer any first thursday you want. you know bro, take your time and all but move your ass! and oy vey, don't get me started about women and bmw convertibles....
 

fretshop

Member
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2,010
She said if I don't start playin' again, she'd sell my stuff and put a down payment on another Beemer. Hellllllp!!!

then git yer rusty dusty down to bawlmer any first thursday you want. you know bro, take your time and all but move your ass! and oy vey, don't get me started about women and bmw convertibles....
Yeah, I know...I don't even drive the damned thing...but any time it has to go into the shop....it's my doing...for some odd reason....I stopped tryig to figure it out.

On a lighter note...I know I'm committing sacriledge with the Watsonites...but anyway, Mike Schwartz from Guitar Storage gave us a DVD of the recent Leonard Cohen concert in London. Roscoe Beck is musical director, and the old man brought in a stellar lineup of A-list musicians for the band, including Sharon Robinson, the Webb Sisters on back ground vocals, Dino soldo on wood winds and Sax, and An idol of min...Javier Mas on :"Fretted instruments from Spain". I had to do a double take when I saw an aquaintance, Bostonite-Bob Metzger on Tele thinline and pedal steel. (I bumped into him a couple times at SIR during a jingle project). What a show !!! Leonard really doesn't "sing" any more, He's 75 years old...he kind of recites the material in a melodic bass voice...but the musicianship and production are awesome. Again I know this isn't sacred Watson territory...(O.K. already, I'll mention Junior Watson...Junior Watson, Junior Watson, Junior Watson !!!) but you and I have been around the block countless times in this business over the last thirty or so years...and I thought you'd enjoy the DVD.

BTW...If you are inspired...you can always take one of our guest rooms...We can cook, drink some wine...catch the DVD, and look up some old pals in NYC. Our own "Ry Guy" is due up here in a couple weeks from Argentina...should be fun. (Matt and I are planning a trip to your digs soon).

Oh...My favortie line from the Cohen concert..."I havent toured in a while...I remember when I was 60...I was just a kid with a crazy dream". Cohen is so cool. "Boogie Street" is my favorite cut of the show.
 
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