Re: [Harp-L] On the Road Again,,and again




On Dec 31, 2006, at 12:52 AM, Bob Laughlin wrote:


Here's a better clip than the one I first posted,,I think.

http://www.youtube.com/watch?v=nJ2a7LlAiqs

I tell ya what,,I just love songs that have that "drone" content. In fact, there's something attractive about ANY style of music that carries a "drone" to build on,,Indian sitar music, native american pow-wows (bum bum bum bum,,rpt), Scottish festivals with pipe bands (Anyone know what note they drone on?),,boogie,,anything that has a constant to build something on.

I believe bagpipes drone on G.

You might say it's easier to listen to than, say, avant-garde jazz, with its seemingly patternless unpredictability.

You're talking 'modern jazz'. Modern sucks, I prefer 'progressive'. (oops, forget to add IMO)


To me, that's "heady" music, for the intellectually "elite", oftentimes, seemingly meant to "lose" the less musically talented, to "show off" the performers skills.

I don't know how elite they are. Basically something the beatniks used to like to listen to. I know that in Pittsburgh, most of the crowd for modern jazz are professors/teachers/grad students from the several local colleges (Penn State, Pitt, Duquesne, Carnegie Mellon, Carnegie Tech, etc). With progressive, the crowd tended more towards lovers of swing, big band, trad, etc. and leaned more toward average people with average jobs and was usually played in the black neighborhoods.


I agree on the showoffness. I prefer subtle. I don't like getting hit on the head with a baseball bat.

But to each his/her own. To me, it just doesn't have a "groove". I'm for the groove. You don't want to confuse people with your music. It's like driving without a turn signal or brake lights.

Anywhoo,,I just love the drone of "On the Road Again". It's almost meditative in function,,that constant "E" support.

I say, there's nothin' wrong with two, or even three instruments doin' the same thing at the same time, with variation. That's a very attractive component of some of the "greatest" bands. Hendrix used it. Cream used it. Bass and lead playing the same thing. Why not?

I wasn't into those guys, but a listen to the jazz crusaders, jazz messengers, Horace Silver, Freddie Hubbard, will exhibit a lot of what you're talking about. I basically do Silver & Hubbard material. It is TOO ginchy to let slide.

Heck, when you can get two artists to agree on something,,it's a downright MIRACLE! Just look at how many bands couldn't do it, and eventually split up. Yet, look at how many groups have THRIVED on the basis of being able to harmonize, vocally or otherwise. Two guitars, playing leads, Lynnrd Skynnrd, Allman Brothers, etc..

Don't forget the Eagles

Anyone have any examples of some great harponizing? (This word, my own invention, means two harmonicas harmonizing.) I don't mean just jamming together, but really working out an effective harmony?

Mitch Weiss & Bill Barrett (not David....Bill). Best example of 2 synchronized chromos I have ever heard. It made my skin crawl.

How difficult it is to get two, or three people agreeing on something. It's either got to be a kind of dictatorship to keep a band together and successful, or a very effective democracy, with everyone sharing, and everyone taking a turn at the wheel.

What you need to decide is WHOSE music IS it. Like who is doing the cd, show, act. If it's the entire group, then you have to work it out, but if it's YOUR project, everyone else bunts because you're the home run hitter.


I had started on a project a few times and had to quit because I keep running into egos. I have a B3 player who won't tone it down and a guitar player who won't lower the volume. I can't deal with that, so I'm still looking.

smo-jo


Artists.


Bob,,waxing wise

Love that drone
Love that tasty harp
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