farmmm livin is the life for me.
What are you listening to now? (4 Viewers)
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Gerard K H Love
Appreciate your friends
Gerard K H Love
Appreciate your friends
Sorry But let me post what the dog listening to.
Grant Green " Albums Ballads
Grant Green
Ballads
1,747 plays (325 listeners)
Tracklist
Track DurationListeners 1
My One and Only Love http://www.last.fm/music/Grant+Green/Ballads/My+One+and+Only+Love
5:49 838 2
God Bless the Child http://www.last.fm/music/Grant+Green/Ballads/God+Bless+the+Child
7:23 1,063 3
My Funny Valentine http://www.last.fm/music/Grant+Green/Ballads/My+Funny+Valentine
9:06 933 4
Little Girl Blue http://www.last.fm/music/Grant+Green/Ballads/Little+Girl+Blue
7:13 798 5
Born To Be Blue http://www.last.fm/music/Grant+Green/Ballads/Born+To+Be+Blue
4:53 3,329 6
Nancy (With the Laughing Face) http://www.last.fm/music/Grant+Green/Ballads/Nancy+(With+the+Laughing+Face)
6:23 866 7
'Round About Midnight http://www.last.fm/music/Grant+Green/Ballads/'Round+About+Midnight
7:01 1,690
Grant Green
Ballads
1,747 plays (325 listeners)
Tracklist
Track DurationListeners 1
5:49 838 2
7:23 1,063 3
9:06 933 4
7:13 798 5
4:53 3,329 6
6:23 866 7
7:01 1,690
Grant Green had some damn tone! He used to use extra heavy strings; strings that would make bass players smile. It really did wonders for his tone. I have a double CD of his stuff with Gershwin's It Ain't Necessarily So on it (with Blakey on drums) that just rocks.
OK kid.
If you're so polish,
then tell me what's it with all the sheep?
(Man I love that dark slavic tone...)
Bill Hardman, a trumpet player, played often with Blakey (messengers era)...we drank together at The Romanian Gardens on Myrtlyle Ave, Brooklyn (88 - 90). He often started at 10 am...I only had the nerve to start at noon (like my grandfather). He said Blakey hit harder and softer than anyone (whatever that meant). Anyhow, most of the time the poems dont get written down. Honesty is the best policy.
HenryChinaski
Founding member
THEE SILVER MT. ZION MEMORIAL ORCHESTRA AND TRA-LA-LA BAND
THE TRIUMPH OF OUR TIRED EYES from the album BORN INTO TROUBLE AS THE SPARKS FLY UPWARD
www.cstrecords.com
THE TRIUMPH OF OUR TIRED EYES from the album BORN INTO TROUBLE AS THE SPARKS FLY UPWARD
www.cstrecords.com
Blakey was sensitive; he could wail the crap out of his kit or provide an almost silent groove; all in great time. I think Bill Hardman played with Mingus a few times, which brings up my point:
Listening to Mingus' "The Shoes of the Fisherman's Wife."
I gonna translate this poem:
I'm poor
I'm poor
Tattered cottage
Sun is sunshing on it
My love told me
(I don't know what...)
You ask me why I don't sleep at home
Chorus:
Tattered cottage
Cottage has been tattered
Tattered cottage
Draw conclusions.
Gerard K H Love
Appreciate your friends
Thanks to Hooch posting some George Jones on the iPod thread I am now listening to the late great Patsy Cline Three Cigarettes in an Ashtray and Tennessee Waltz
I Fall to Pieces
Crazy
I Fall to Pieces
Crazy
ROC
It is what it is
This...
http://au.youtube.com/watch?v=hw522GIskVc
Heaps.
:)
Actually the bass line is pretty interesting
http://au.youtube.com/watch?v=hw522GIskVc
Heaps.
:)
Actually the bass line is pretty interesting
bospress.net
www.bospress.net
I'll raise you a gangsta Barney.
Bill
Bill
at bedtime reading a book while putting Sam to sleep it's this:
Gerard K H Love
Appreciate your friends
After visiting an old friend I caught inspirational as well.
The Offspring have a distinct sound all of their own.
The Offspring have a distinct sound all of their own.
chronic
old and in the way
Now that was funny.
I actually just discovered Grant Green last weekend.:o
I'm not a jazz aficionado, as you may have guessed.
What I like about him is that he has a sort of restrained simplicity. Too many jazz musicians turn me off when they launch into endless meandering displays of their technical abilities. Maybe its just me not being an experienced enough listener to appreciate those things. Green provides an opening for the jazz-beginner. Actually, a lot of jazz guitarists seem to fall into this category.
Listen to Green's version of "I Want to Hold Your Hand". He gets the naive simplicity of the song dead right in his opening. I liked that.
mjp
Founding member
Oh, don't say that, it's bullshit. That's what those types would like you to believe - it justifies their relatively small audiences - but it's bullshit.
Different kinds of music appeal to different kinds of people. I'm sure a person could learn to appreciate certain kinds of initially off-putting music if they really want to devote themselves to such a pastime, but what's the point of doing that? But the idea that someone can't appreciate something with marginal appeal because they are uneducated or uninitiated is, well, I don't want to say bullshit again - it's hogwash.
I spent several years playing less-than-mainstream music to living humans, and I ran into that idea on many occasions. When a band or musician fails to capture an audience - or actively repels and audience - most times they will chalk that up to the audience's ignorance. But that's just a handy excuse. I know, I have been standing on a stage as the majority of an audience walked out, and it wasn't because we were so much more sophisticated than they were. They just didn't like the music we were playing. They weren't wrong and we weren't wrong. We were just different.
mjp
Founding member
I am listening to something that is funny and ridiculous and amazing; The Stooges 1970: The Complete Funhouse Sessions.
What you have known for almost thirty years as a 36-minute long proto-punk masterpiece is now presented in its complete 7-hour and 52-minute recording session entirety - that's more than seven hours of previously unreleased recordings from Iggy and company. Every take from every Fun House session, in order, exactly as The Stooges recorded them -- all the music, mayhem, false starts, inside jokes, and equipment hum.
Yes, eight hours of Funhouse. This is only for the truly disturbed.
The Rhino release was limited to 3000 copies, so you can't buy it anymore. But you can download it here. You know, if you're crazy.
What you have known for almost thirty years as a 36-minute long proto-punk masterpiece is now presented in its complete 7-hour and 52-minute recording session entirety - that's more than seven hours of previously unreleased recordings from Iggy and company. Every take from every Fun House session, in order, exactly as The Stooges recorded them -- all the music, mayhem, false starts, inside jokes, and equipment hum.
Yes, eight hours of Funhouse. This is only for the truly disturbed.
The Rhino release was limited to 3000 copies, so you can't buy it anymore. But you can download it here. You know, if you're crazy.
Yes and no. Having played guitar since 1977 and electric bass since 1980, I purchased an upright bass in 1992. On the drive to Orange, CT to pick it up, I decided that I must learn to play jazz and classical on this thing, as it was the basis of this instrument.
Four years later, I was playing in the Boston Jazz scene. Four years after that, I was playing in a local Symphony Orchestra. But in the jazz thing, I played jazz standards with a rock & roll bent; you know, not fusion *yack my tits off*, but with an edge.
So, there is a certain respect to lineage, as it were, without pretense. I credit the lineage of Mingus, Monk, Coltrane, and Sinatra, among so many others, and their choice of bassists to a portion of my overall style. But I'd never look at someone and expect them to become someone else in order to get what I or anyone else was playing.
No wonder the music business sucks. :rolleyes:
mjp
Founding member
Learning to play something and learning to enjoy listening to something aren't really the same thing though, are they. My "what's the point of doing that?" statement was in relation to listening. For a musician there are obvious advantages to learning to play new musical styles, all the time, forever and ever. But playing and listening (the listening of a non-musician, anyway) is comparing apples and mangoes, mon.
The example I was thinking of when I wrote my response was not jazz but rather 8 bit computer game music. Now when I hear that shit, my music brain immediately goes, "I could do that - all I would need is a..." But my real-world brain goes, "Turn that shit off before I punch you in the nose." Two different reactions to the same thing. Life is too short to "learn" to enjoy that as a recreational noise. But if I was sitting in your studio and you started to play it, I'd be right there dicking around with it.
So I see what you're saying, maybe I just wasn't clear.
The example I was thinking of when I wrote my response was not jazz but rather 8 bit computer game music. Now when I hear that shit, my music brain immediately goes, "I could do that - all I would need is a..." But my real-world brain goes, "Turn that shit off before I punch you in the nose." Two different reactions to the same thing. Life is too short to "learn" to enjoy that as a recreational noise. But if I was sitting in your studio and you started to play it, I'd be right there dicking around with it.
So I see what you're saying, maybe I just wasn't clear.
ROC
It is what it is
I would say this is a very normal and appropriate reaction.
I think people get nervous when confronted by music (or other art forms) that they don't immediately understand.
And with good reason.
For several hundred years the 'listening of non-musicians' has been way behind the creative output of the very best music has to offer.
It took Felix Mendelssohn to revive and bring to light the power, grace and intelligence of J.S. Bachs music which had, for nearly 100 years, been brushed aside as mere musical didacticism.
Berlioz' 'Benvenuto Cellini' was deemed unlistenable and the audience almost rioted. Musicians claimed the music was unplayable.
Stavinsky saw the audience stamp their feet, boo, hiss and eventually fight to leave the hall when he premiered his ballet The Right of Spring.
The music of John Coltrane and Ornette Coleman was termed anti-jazz and some people came to their concerts specifically to ridicule and/or disrupt things.
Messiaen, Xenakis, Varese, Ravel, Bartok all had music that was initially received as utter crap.
All these people were eventually vindicated; there music being accepted and integrated with musical culture.
They are all now revered and acknowledged as musical masters.
The same stories occur in the history of art again and again, so I would be wary of dismissing something without putting some energy into it, living with it for a while and trying to understand it.
Of course you wouldn't waste your time with all that if it were just plain crap. And we all know what that sounds like, right? :)
I made a decent living out of this for a while.
I would speak to people in the audience sometimes and the majority had no idea what was going on musically, but were appreciating something about the overall sound or simply the excitement of live (improvised) music.
Most people can't follow a simple 32 bar song form unless the melody is being explicitly stated. So it goes without saying that taking a solo over 12 choruses of All the Things You Are is going to leave you cold.
Shame though. You might be missing out on some amazing music making.
As a (jazz) musician it's an interesting line to walk; you keep things spare and simple and some people will refer to your stuff as elevator music or claim you can't really play that well.
Tear it up and you are thought of as... well "endless meandering displays of their technical abilities" will do nicely.
End rant.
number6horse
okyoutwopixiesoutyougo
holy crap, the Poppy Family! haven't thought about them in a while. they were always on the radio when I was a kid (and later, Terry Jacks) up here in the Great White.
Where Evil Grows.
Where Evil Grows.
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