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In Memoriam: Walter Payton
Authored by: Mike Kobrin

Walter Payton in His Own Words
Listen to a tribute to Walter Payton by Eve Abrams:



A public memorial and tribute will be hosted by Preservation Hall on Saturday, November 20 at 10:30 a.m. After a short service, the Preservation Hall Jazz Band will perform a second line through the French Quarter, down St. Claude Ave., and past McDonough 15 where Walt taught music for many years.

--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

Hi Will,
That is fine, of course, if one is looking for excuses to steal. "Try a Little Tenderness" is now losing money due to theft. D'you want to explain that away with the hype of the big, bad record companies? How much are Google stocks going for now - $800/share? MGM Records - around $29.

Goodman solos are so friggin' melodic. I don't suppose you could use
his licks nowadays for a blues, they's sound corny, but it's so far
beyond what usually passes for blues (non-bop) soloing today.... it's
made up of real melodic fragments rather than scales and psychomotor
reflexes of the left hand...

Well put - infectious, delightful - and the sound textures he squeezes out of that thing while remaining melodic! "Licks" was a dirty word among my jazz crowd a few decades ago - that was considered a crutch for Rock n' Roll players.

--- In jazz_guitar@..., ehewitt <ehewitt@...> wrote:

the absolute best resource i found was garry hansen's site, which
seems no longer to be online; this site had the audio of each solo
isolated, the transcription, and the tab, along with heaps of info on
how charlie actually played.

It was a great site. I do not know how legit it is but someone put
together a pdf of the whole site. I will upload it to the file
section.

Mark

On Nov 19, 2010, at 11:09 AM, David B. Klein wrote:

At 12:06 PM 11/19/2010, Ron Becker wrote:

I have found the Goodman solos to be a great musical resource,

Exactly, while I like the CC solos it's when the clarinet comes in
the my ear gets excited. Good thing I'm wearing a hat!

Ron
Living and playing outside the box.

Goodman solos are so friggin' melodic. I don't suppose you could use
his licks nowadays for a blues, they's sound corny, but it's so far
beyond what usually passes for blues (non-bop) soloing today.... it's
made up of real melodic fragments rather than scales and psychomotor
reflexes of the left hand...

Been threatening for years to learn some of that stuff. It might
sound corny at what passes for a blues jam today [ pentatonic string
bending masturbation ] but it would fly at a jazz gig for a chorus or
two. Or just about any other kind of gig. Loved that stuff first time
I noticed it in the early fifties and still do. It was probably on
since I could hear at our house and my uncle's but it took a while to
sink in. I was six or something like that. It was just about oldies
by then.

Ron
Living and playing outside the box.





[Non-text portions of this message have been removed]

At 12:06 PM 11/19/2010, Ron Becker wrote:

I have found the Goodman solos to be a great musical resource,

Exactly, while I like the CC solos it's when the clarinet comes in
the my ear gets excited. Good thing I'm wearing a hat!

Ron
Living and playing outside the box.

Goodman solos are so friggin' melodic. I don't suppose you could use his licks nowadays for a blues, they's sound corny, but it's so far beyond what usually passes for blues (non-bop) soloing today.... it's made up of real melodic fragments rather than scales and psychomotor reflexes of the left hand...

the absolute best resource i found was garry hansen's site, which seems no longer to be online; this site had the audio of each solo isolated, the transcription, and the tab, along with heaps of info on how charlie actually played. leo valdes site runs a close second, here is the transcriptions page:
ed

On Nov 19, 2010, at 9:47 AM, keithfre wrote:

BTW I'm getting pretty good milage out of turmeric in the anti
inflammatory dept.

How are you using it, Ron? I have recurrent intermittent shoulder
pain.

Hey Keith, I take quite a bit of it because it is not well absorbed
in it's normal state. That would be ground root. I had been taking
two caps a day for several years because I knew is was very good for
the digestive tract. So when I read it was good for inflammation and
here I am with a level or 8 or shoulder ache I tried taking six caps
three times a day for several weeks to see what happened. After the
first two weeks, I spend many days with out any shoulder pain but I
am aware that all that is going on is reduced inflammation.. The root
problem is still there. I have minor short duration discomfort
occasionally. But I have full range of motion with out discomfort
probably 98% of the time. I take it with ginger which was part of the
original recommendation, and bromelain to help get it into my system
There are now available various curcuminoid compounds that are
allegedly concentrated with the main active constituent, curcuminoids
in conjunction with other things like devils claw, boswellia and
ginger. I didn't notice any improvement over what I was already doing
and I can buy a pound of organic turmeric for about 5 or 6 bux. I
also tale other known anti inflammatory stuff but it was the the
turmeric bromelain and one cap of ginger a day that initially brought
the relief. Go slow with the ginger if you try it. It may not be
worth it to take all those caps but I was already taking tons of
vitimins and herbs anyway. Sometimes I skip a day or two but I stick
with it pretty regularly.

Ron
Living and playing outside the box.

US Senate panel passes bill against piracy websites
Thu Nov 18, 2010 11:19am EST

* Bill would give U.S. new power against foreign websites
* Critics have called bill "Internet censorship"
* U.S.-China meeting on Thursday on IPR concerns
By Doug Palmer

WASHINGTON, Nov 18 (Reuters) - U.S. agencies and officials would get new powers to go after foreign websites that sell counterfeit goods and pirated music, movies and books under a bill passed on Thursday by the Senate Judiciary Committee.

The bill, which supporters hope will set the stage for action next year, targets "rogue websites" in countries such as China that are outside the reach of U.S. law.

The measure, approved by the Senate panel in a 19-0 vote, has the backing of companies including Disney (DIS.N), Nike (NKE.N), Merck (MRK.N) and Time Warner (TWX.N) and groups such as the Screen Actors Guild, the Motion Picture Association of America and the U.S. Chamber of Commerce.

Critics like the Electronic Frontier Foundation, a digital rights group, have attacked it as "Internet censorship" that could harm the credibility of the United States as a steward of the global domain name system.

The panel approved the "Combating Online Infringement and Counterfeits Act" with little time left this year for it to be passed by Congress and signed into law. Lawmakers are out next week for the U.S. Thanksgiving holiday and are expected to work only a few weeks in December.

A new Congress will be seated in January.

The bill allows the Justice Department to seek a court order against the domain name of websites offering illegal music or movie downloads or ones that sell counterfeit goods ranging from fake tennis shoes to pharmaceutical products.

Once the Justice Department has the order, it could shut down the site by requiring the U.S. registrar to suspend the domain name.

If the registry is located outside the United States, the U.S. Attorney General could go after the website by requiring U.S.-based Internet service providers, payment processors and advertising networks to stop doing business with it.

--- In jazz_guitar@..., "Will" <will@...> wrote:

It is reported this week that Susan Boyle has sold some
10m albums worldwide. Is seems that pirate download sites
have had no affect on her sales.

Will, I have to admit to being completely confused as to where you are coming from.

Susan Boyle CD sales are a direct result of mass media marketing and corporate record company backing.

Simon Cowell's Syco TV produced the show she was discovered on and signed her to his music entertainment company, Syco Music. Syco Music which operates under the Sony/Columbia records banner then marketed, produced and controlled everything about her. Simon Cowell has publicly stated that he believes that piracy has had a direct impact on the number of sales and vowed to prosecute those who pirate "his" companies material, particularly after the Leona Lewis pirating fiasco. Simon Cowell, his team and the record company execs who propelled Susan Boyle's success are staunch and financial supporters of the RIAA and advocate enforcement of copyright and tighter controls. Simon Cowell's team strategically decided the timing of CD releases and official download releases on digital rights management sites such as iTunes.

Simon Cowell sign letter urging MPs to act on net piracy


YouTube has been ordered to remove links to unreleased Leona Lewis songs by anti-piracy officials working with Simon Cowell.


Leona Lewis becomes victim of computer hackers as three new tracks are leaked on internet


What I think is interesting is to ask is...

Could Susan Boyle have been as successful if she worked independently promoting, blogging, social networking, mailing, marketing her own material?

--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

The best way to learn the jazz language is to do a ton of listening
and work on coming up with your own licks/phrases over typical
progressions. That way, the licks and phrases become part of YOUR
vocabulary.

This what I have always felt. It has never felt natural to me to play
someone else's lines. Learn from it, adapt it, possibly, but if you
do the work, and I admit I don't come close to doing what is really
needed, and still, the note sequences get born of the rhythms and
changes and bits and pieces of things I've learned more than trying
to remember what Pat Metheny of Kenny Burrell played. But I spent my
formative years playing bass in a band the did all original music and
doing someone else's ideas became less satisfying. Even tho Burrell's
may be better, I'd rather play my own. They feel so natural to
play... for better or worse. In the time it would take me to
internalize Burrell's stuff, assuming I could, I could have learned
several new concepts on my own

Besides in a jazz venue the guys with ears are going `hah there's a
Howie Robert's lick, there's Burrell, oh its Parker lines, yep sounds
like jazz. But incest over time has it's affect of the gene pool. If
we just keep re hashing the cool guys ideas eventually people could
get jaded by the sameness. I know this is an over simplification of
what most people actually do. Call it worse case maybe.

All that said, I must admit I'm learning other peoples chord melody
arrangements with the hope it will improve my playing. So who's
kidding who? {;^)>

Ron

Living and playing outside the box.



On Nov 19, 2010, at 8:28 AM, dphidt wrote:

I have found the Goodman solos to be a great musical resource,

Exactly, while I like the CC solos it's when the clarinet comes in
the my ear gets excited. Good thing I'm wearing a hat!

Ron
Living and playing outside the box.




[Non-text portions of this message have been removed]

On Nov 18, 2010, at 9:56 PM, Palmer wrote:

Hey Ron

I know this is more of a BIAB topic, but Layla would be an easy
tune to
write in yourself. BIAB is so easy to lay down chords and styles
with. Plus
a lot of the stuff on the web isn't worth the paper it's printed on
anyway.lololol..

Did it yesterday out of frustration. I have been using biab since
about 95. I could not get the timing to come out right [swing] on the
D C Bb section. I'm thinking of the acoustic version. It's been so
long since I heard it I don't even know if that part is supposed to
swing but it's how I hear it. It's the anticipations on some of those
changes. You only have two choices as far as I know. Eighth or
sixteenth. I used the eighth note version

I could send you the file but if you don't have real drums and the
same styles it may not play the way I'm hearing it anyway. I wound up
using Breezin style 16ths and bosa brushes with full percussion. The
problem is the drum tacks plays all the anticipations and it makes
them sound too heavy or amateur to my ear. It's like when some cool
ensemble part comes up on stage and every one hits it too hard. Most
of it's possible impact is better served by making less of a big deal
out of it.

The thing it's ok to try out some ideas with. That same combo sounds
very good on the E section of the tune. I think of it as E anyway
because of the two fives. The Ab7 is kind of a clinker for the the
hardnosed definition of the key of E.

I am going to convert it to an audio file in digital performer
later today I hope. Plus I have to see how it sounds today. I was
getting late when I did it. It could be a disaster today.

Ron
Living and playing outside the box.



[Non-text portions of this message have been removed]

BTW I'm getting pretty good milage out of turmeric in the anti
inflammatory dept.

How are you using it, Ron? I have recurrent intermittent shoulder pain.

-Keith

My recommendation is to check out Stan Ayeroff's book titled "Charlie
Christian, 18 important solos as played by the pioneer of jazz guitar...." I
bought this ca. 1977 and haven't checked to see if it's still in print.

Looks like Mel Bay have brought out an expanded edition with the obligatory CDs (no CDs included in 1977!). From the samples on their site it might well cover the content of the two books I mentioned. And I like the fact that it has slow and fast recordings of the solos, which the Marshall books never do.

-Keith

On Nov 18, 2010, at 8:47 PM, Alan Levin wrote:

My take on dairy and arthritis is: I don't know of a
connection, don't understand how it would work BUT it is
reasonable for anyone to try it for 6 to 8 weeks if they
think it will help. If people stay off dairy products
longer than this, attention needs to be given to dietary
Calcium and Vitamin D.

Hey Thanks for the clarification. Don't know if I was the one wrongly
accusing osteoporosis or not. `Don't remember what I wrote. Got any
thing for improving memory? {;^)>

BTW I'm getting pretty good milage out of turmeric in the anti
inflammatory dept. Shoulders are nearly symptomless. Can't say the
same for the elbows. DMSO helps quite a bit as does wearing one of
those ace support things on the elbow area.

Ron
Living and playing outside the box.



[Non-text portions of this message have been removed]

On Nov 18, 2010, at 4:40 PM, Bob Hansmann wrote:

2) Both Ron Becker & I have both managed to discuss licks and keep it
musical....

I didn't want anyone to know that. Just keep quiet about the
spanking. OK??

Ron
Living and playing outside the box.




[Non-text portions of this message have been removed]

john wrote:

What did you guys say is the best book for learning the technique and "riffs" of Charlie Christian?

My recommendation is to check out Stan Ayeroff's book titled "Charlie Christian, 18 important solos as played by the pioneer of jazz guitar...." I bought this ca. 1977 and haven't checked to see if it's still in print. In addition to the transcribed solos, there are extensive notes on the improvisational concepts and fingerings. As far as I can tell, the transcriptions are scrupulously accurate. I've compared e.g. "Honeysuckle Rose" to the original recording and can't find any discrepancies. FWIW....

Jay

Weidlich's The Guitar Chord Shapes of Charlie Christian is good for the nuts and bolts.

Wolf Marshall's The Best of Charlie Christian is also good if you want transcriptions of his solos.

-Keith

I've found that I get very little out of lick books. There was one by Joe Pass that I looked through at one point. The reason behind even looking at it was to get some ideas on how to phrase melodic lines over standard changes like II-Vs. I tend to get a bit more from solo transcriptions after I attempt to learn them by ear first.

The only problem is that you can get hung up on what is written on the page rather than what is going on aurally and on the guitar. A good example of this is that a side slip, or a pattern idea, looks like some sort of chromatic insanity when written out, but make a lot more sense when it is visualized on the guitar. It is even worse if the transcription contains an analysis of what is supposedly going on. Most of the time, those are really off base.

The best way to learn the jazz language is to do a ton of listening and work on coming up with your own licks/phrases over typical progressions. That way, the licks and phrases become part of YOUR vocabulary. I have a notebook where I've written out a whole set of licks/phrases based on II-V-I with the I chord as a major or minor chord. So in the key of F I had: G-7, C7, F Maj7. For the minor resolution, it was G-7, C7, F-7. The point of my notebook was to work on different ways to activate the dominant 7th chord and target specific resolution notes. For activation techniques, I was looking at diminished, altered, lydian dominant, and whole tone scales. I also did some work with some patterns and side slipping.

The key is to develop at least one lick with each resolution. For example, using the altered scale (7th mode of mel. minor), you have the b9, #9, b5, and #5 notes that resolve when going to either the major or minor I chord. I worked out a full jazz line using all eighth notes for the entire progression that resolved a specific one of those altered tones. For example, I'll pick the b9 of the C7 chord. This is a Db. The most common resolution is to resolve that down to the C on the F chord. So, on the and of 4 (4 + ) on the C7 measure, I put the Db, and on the "1" of the F chord. After that, it is a matter of building the lick around that resolution point. Singing the resolutions, and your lines, really helps get them into your ear.

Let's say you do this for just one of the altered tones with both major and minor resolutions. Now you have 2 licks you can play over any II-V-I. Since they are your own, they become easier for you to execute and hear in context because you came up with them. Now add the fact that you can play those 2 licks in any of the 12 keys by shifting your hand. So, you really have 24 licks. Now you can play over a bunch of tunes. Add in the other 3 altered tones, and your 8 licks become 96!

Come up w/ a few licks based on the diminished scale activation of the dominant chord and you're covering a huge amount of the sounds you hear in jazz.

Good luck and happy exploring,

-- Mike V.