Re: Ben Webster

Re: Ben WebsterA couple of other tenor players from the same period worth
checking out for their tone are Don Byas and Chu Berry.   I hope mentioning
Lester Young is belaboring the obvious.  <g>
  ----- Original Message ----- 
  From: david j. brown
  To: Mark Wilson ; Pierre ; harp-l@xxxxxxxxxx
  Sent: Tuesday, February 24, 2004 7:02 PM
  Subject: Re: Ben Webster

  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.

      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.


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