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

[Joe and Cass Leone <leone@xxxxxxxx>]

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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