Re: Ben Webster

["david j. brown" <nonidesign@xxxxxxxxxxxxxxxx>]

> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.


Oh, I'm liking how this thread could develop. I always look for other music
styles for influences (especially opera). As for sax, check out Coleman
Hawkins. Usually the tenors get that low moan but man "The Hawk"  could
really moan. 

From: "Mark Wilson" <markwilson53@xxxxxxx>
Reply-To: "Mark Wilson" <markwilson53@xxxxxxx>
Date: Sun, 22 Feb 2004 19:15:30 -0800
To: "Pierre" <slavio@xxxxxxxxxxxx>, <harp-l@xxxxxxxxxx>
Subject: Re: Ben Webster


 
- ----- Original Message -----
From: Pierre <mailto:slavio@xxxxxxxxxxxx>

Around Xmas I discovered Ben Webster while browsing music samples in iTunes
and I bought a couple of his albums. The guys phrasing (on the sax) is just
amazing, very unique. In particular his tone and the way he shapes each
note. He often plays these slow dark tunes, for example Chelsea bridge.
Anybody got any idea how to get that kind of sound on  a diatonic or is this
just a sax thing? Has anything like that ever been recorded on a harp?
 
Hello Pierre,
 
Thanks for the tip, I've already orderd up after listenting to some sound
samples on Amazon.
 
http://www.amazon.com/exec/obidos/tg/detail/-/B0000046R4/qid=1077500491/sr=1
- -2/ref=sr_1_2/002-3580256-5485643?v=glance&s=music
<http://www.amazon.com/exec/obidos/tg/detail/-/B0000046R4/qid=1077500491/sr=
1-2/ref=sr_1_2/002-3580256-5485643?v=glance&amp;s=music>
 
I like the dark mournful stuff too and would love to get some harp cd
recommendations with that type of music.  Even if it's only one tune I'll
buy the CD.
 
I've had some success duplicating that sound on the diatonic.  I use low F
and D harps with a fat delay and send the signal through my Harp Commander
with the HC's bass turned up and the highs turned down.  I can get a pretty
good saxy tone that, at times, sounds more like a horn than a hamonica.
I've got a Special 20 tuned to low C coming from Jimmy Gordon which should
open up a whole other range of possibilities.
 
One caveat, the low harps work well in a recording situation, but live they
generally don't cut through the mix.  To make it work everyone has to turn
down.
 
Mark