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Hey, Ron,
I'm watching the Awards out of one eye while I do other stuff. Ain't it amazing how much Miley Cyrus looks like her father?

best,
Bobby

Hi Ron,

Gee that's funny, they called it the Censorship bill in the subject
head.

Rumour Mill News, who agrees with you, btw, calls it that. What it's
called, though, is

The Combating Online Infringement and Counterfeits Act (COICA)

Ain't it funny how words can be twisted around by our oh,so truthful
"Internet News" organizations to fit their agenda?

best,
Bobby

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

At 11:40 AM 11/20/2010, you wrote:

(And if you know your Albert King, you'll hear a lot of his stuff
there too). That's the oral tradition at work.

great post - -not to start a clapton thread, but the disraeli gears
album is pure Albert Lee knockoff; when i discovered that years ago,
i was stunned at how much it was the case - especially since i had
never heard any rock stars talking about albert lee, but there it
was, clear as a mimicked bird call, on a hit album.

Albert Lee or Albert King? I hear Albert King all over the place in Cream's music, particularly in "Strange Brew" (or "Lawdy Mama", which ever you prefer. Same tune, different lyrics). I'm not of Albert Lee from that time period. Albert Lee, of course, toured with Clapton for years and is featured the "Just One Night" album, as well as "Money And Cigarettes". And not to be confused with Alvin Lee.

On Nov 21, 2010, at 11:48 AM, Bob Hansmann wrote:

On 11/21/2010 12:53 PM, Ron Becker wrote:

Censorship smacks of the republiban.

This issue has nothing to do with censorship, or of free speech, or of
protecting musicians, for that matter. It is simple copyright law.
Every
other medium of publication and distribution has had to obey these
laws.
There is nothing which should make the Internet exempt, except that
the
gov't has made no attempt to provide the protection which has been
duly
filed and paid for by the copyright owners.

What is so hard to understand? Maybe I should be a frikkin' lawyer.

Gee that's funny, they called it the Censorship bill in the subject
head. That's what is so hard to understand.

Ron
Living and playing outside the box.

On 11/21/2010 12:53 PM, Ron Becker wrote:

Censorship smacks of the republiban.

This issue has nothing to do with censorship, or of free speech, or of protecting musicians, for that matter. It is simple copyright law. Every other medium of publication and distribution has had to obey these laws. There is nothing which should make the Internet exempt, except that the gov't has made no attempt to provide the protection which has been duly filed and paid for by the copyright owners.

What is so hard to understand? Maybe I should be a frikkin' lawyer.

Bobby

On Nov 21, 2010, at 5:46 AM, Dave Woods wrote:

Dave Woods

I'd like to add that in terms of complexity, young guitar players
play to
impress each other. The "pecking order" judges and re judges who's
corny
and who's not. Listening to her, it's obvious that she's as deep
into the
tune as a person can get. This is another reality that young
players who
suffer from "diarrhea fingers" seem to miss.

The opening of the solo is a single C against an Am chord. It
sounds great.
It's unexpected. She sings it and plays it simultaneously with
great tone.
The note is placed perfectly (thinking in 2/4 it's on the second
16th of the
measure, which is exactly where the samba comp pattern hits in that
bar (a
little like 2-3 clave, but it's samba)).

She then plays a couple of additional phrases. Each contains only a
couple
of notes. They are placed perfectly. They are based on simple
arpeggios for
the most part, but they're really melodic. She ends each phrase
right next
to the next chord she comps -- no disruption in the time. Somehow,
even
though her note choices are pretty well inside, the overall sound
of the
improv is very hip.

DId anyone bookmark the kid who was such a well rounded jazz player?
He looked to be ten or twelve at the most I think there were several
things cut together and as the vid went on it became apparent that he
wasn't just some kid with chops.

Ron
Living and playing outside the box.

Democrats and Republicans are standing together."

Then who thought the bill up the trashbaggers? I don't think so.
Censorship smacks of the republiban.
Living and playing outside the box.

From: Brian Kelly?

Rod,

What are you going to replace these with?

Brian

Brian:

I've replaced them with a Rumpelstiltskin Gypsy set. I'm a "jazz on a Strat"
guy, mainly because I like playing my 11-year old MIM Strat* more than the rest
of the guitars I've had. The Rumpels do that better than any other pickups I've
tried.


* the wood is still original. All of the metal and plastic bits with the
exception of the brige base plate have been replaced over the years.


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

Rod,

What are you going to replace these with?





Brian


From: Rod Ellard
Sent: Sunday, November 21, 2010 1:10 AM
To: jazz_guitar@...
Subject: Re: [jazz_guitar] Re: For Sale - Lollar Strat set


Lollar Special Strat set. One install (by Lollar)/one removal.

Not particularly jazz guitar oriented, although Lollar pitches these as "almost
Gibson humbucker". Maybe closer to P90s would be more accurate.

$200

Rod

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





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

(And if you know your Albert King, you'll hear a lot of his stuff
there too). That's the oral tradition at work.

great post - -not to start a clapton thread, but the disraeli gears
album is pure Albert Lee knockoff; when i discovered that years ago,
i was stunned at how much it was the case - especially since i had
never heard any rock stars talking about albert lee, but there it
was, clear as a mimicked bird call, on a hit album.

Do you really mean Albert Lee? Or are you referencing Albert King? Albert
Lee played with Eric and tore it up when I saw them play together. He is
a great picker and I don't think Eric can really hang with him in Albert
Lee's bag.
I saw Howling Wolf, Albert King, Luther Allison and a couple others for
$3 at a concert in Milwaukee. Talk about great bang for the buck!
Scott
____________________________________________________________
Job Scams (EXPOSED)
We investigated work at home jobs and what we found may shock you&#46;&#46;&#46;

A friend on another list posted this link:

Brad

"Few things are more important to the future of the American economy
and job creation than protecting our intellectual property," said
Senator Patrick Leahy, a Democrat from Vermont who co-sponsored the bill.
"That is why the legislation is supported by both labor and industry,
and Democrats and Republicans are standing together."

-------- Original Message --------

AMEN!!

Dave Woods



I'd like to add that in terms of complexity, young guitar players play to
impress each other. The "pecking order" judges and re judges who's corny
and who's not. Listening to her, it's obvious that she's as deep into the
tune as a person can get. This is another reality that young players who
suffer from "diarrhea fingers" seem to miss.


The opening of the solo is a single C against an Am chord. It sounds great.
It's unexpected. She sings it and plays it simultaneously with great tone.
The note is placed perfectly (thinking in 2/4 it's on the second 16th of the
measure, which is exactly where the samba comp pattern hits in that bar (a
little like 2-3 clave, but it's samba)).

She then plays a couple of additional phrases. Each contains only a couple
of notes. They are placed perfectly. They are based on simple arpeggios for
the most part, but they're really melodic. She ends each phrase right next
to the next chord she comps -- no disruption in the time. Somehow, even
though her note choices are pretty well inside, the overall sound of the
improv is very hip.

To me, this is great jazz. I'd rather hear her handful of notes than even
great jazz players (who I like, even) playing many more notes.

At 11:40 AM 11/20/2010, you wrote:

(And if you know your Albert King, you'll hear a lot of his stuff there too). That's the oral tradition at work.

great post - -not to start a clapton thread, but the disraeli gears album is pure Albert Lee knockoff; when i discovered that years ago, i was stunned at how much it was the case - especially since i had never heard any rock stars talking about albert lee, but there it was, clear as a mimicked bird call, on a hit album.

One of the girls came up to me after class, kind of stunned that a musical ignoramus could play. She asked me how I knew what to play. (I had played this neat little Wes Montomgery run at one point and it was kind of funny, this one girl on the piano stopped playing and turned around to look at me with her jaw dropped open). I told her that I had recorded that section of the Wes phrase at home and played it over and over against the recording until I got it.

do you recall which Wes run it was - album, tune? it would be entertaining to check it out.
cheers
ed

This is well said.

I'll even supply an example.



This is a beautiful version of Manha De Carnival (Black Orpheus). There is a solo section starting around 2:58.

The opening of the solo is a single C against an Am chord. It sounds great. It's unexpected. She sings it and plays it simultaneously with great tone. The note is placed perfectly (thinking in 2/4 it's on the second 16th of the measure, which is exactly where the samba comp pattern hits in that bar (a little like 2-3 clave, but it's samba)).

She then plays a couple of additional phrases. Each contains only a couple of notes. They are placed perfectly. They are based on simple arpeggios for the most part, but they're really melodic. She ends each phrase right next to the next chord she comps -- no disruption in the time. Somehow, even though her note choices are pretty well inside, the overall sound of the improv is very hip.

To me, this is great jazz. I'd rather hear her handful of notes than even great jazz players (who I like, even) playing many more notes.

Lollar Special Strat set. One install (by Lollar)/one removal.
?
Not particularly jazz guitar oriented, although Lollar pitches these as "almost
Gibson humbucker". Maybe closer to P90s would be more accurate.
?
$200
?
Rod

* hi Will,

Then we will have to agree to differ.

I can think of no nicer person to differ with.

:-)
Bobby

Now that's a class act.



Thanks guys,



John







Reciprocity

--- In jazz_guitar@..., Bob Hansmann <bobbybmusic@...> wrote:

Maybe one day some
politician may realize just how important the arts are to the economic
well being of Manhattan and do something to get it back under control,
but I wouldn't hold my breath waiting for it.

"Politicians Often Tone Deaf to Songwriters' Rights," featured in Landslide, the American Bar Association Section of Intellectual Property Law section's magazine on intellectual property law and related issues, provides further detail on the growing number of politicians-from President Barack Obama to Sen. John McCain-who have been cited for the unauthorized use of copyrighted music in their campaign efforts.

Study Reveals Top 10 Most Rocking U.s. Cities
Austin headlines with surprising performances by Madison, Portland and Las Vegas

SAN FRANCISCO – November 18, 2010 – Austin, Texas, the self-proclaimed live-music capital of the world, topped a new list of top cities in the U.S. for seeing live rock music, according to a study conducted by Songkick (www.songkick.com). The top ranking is based on the number of live rock shows per capita.

Songkick is the live music and technology company that connects music fans with their favorite artists on tour, so fans never have to miss another show. The new study ranking Austin as a top rock city is based on Songkick's analysis of artist, concert, festival and venue information from hundreds of sources.

Songkick data shows Austin has more rock concerts than any other city in the U.S. per capita, and the average cost per rock ticket there is $23.30. Madison is the second-ranked music city for rock, at an average rock ticket cost of $13.05. Both cities are college towns that support University of Texas at Austin and University of Wisconsin–Madison. Portland steals the show as the cheapest place to rock with an average ticket price of just $10.33. Glitzy Las Vegas ranks as the most expensive place to see a rock show with an average ticket price of $62.76.

The ten most rocking cities in the U.S. by number of live rock shows per capita include:

? Austin, Texas – 100 Rock Score; average ticket price of $23.30

? Madison, Wisconsin – 78 Rock Score; average ticket price of $13.05

? New Orleans, Louisiana – 57 Rock Score; average ticket price of $16.89

? Las Vegas, Nevada – 51 Rock Score; average ticket price of $62.76

? Denver, Colorado – 44 Rock Score; average ticket price of $33.24

? Milwaukee, Wisconsin – 38 Rock Score; average ticket price of $17.66

? The Twin Cities (St. Paul and Minnesota), Minneapolis – 36 Rock Score; average ticket price of $11.36

? Seattle, Washington – 35 Rock Score; average ticket price of $11.75

? Portland, Oregon – 35 Rock Score; average ticket price of $10.33

? Nashville, Tennessee – 34 Rock Score; average ticket price of $20.13

The full list and charts of Top 10 cities in the U.S. for rock music can be found here. (URL: )

To compute the Rock Score, Songkick analyzed its database of more than 1.8 million concerts for rock artists' 2010 tour dates, where rock includes alternative, indie, punk, classic rock, metal, emo, and rock. Songkick analyzed which cities have the most rock concerts per capita, giving the top city, Austin, a score of 100. All other cities are then ranked against this score—Madison has 78% as many rock concerts per capita as Austin, New Orleans 57%, and so on.

The study also analyzed concert data from 2007-2010 for major touring acts like Ben Harper, Pearl Jam, Iron Maiden and also for the long tail of smaller acts that make their living and build a following on the road. The analysis found that the long tail of artists has had the fastest increase in tour dates per year over the past four years, while the most popular acts have had a relatively constant number of tour dates per year. Top data showed:

? In 2007 the top quartile (major touring acts) had an average of 30 gigs; in 2010 they had an average of 31 gigs

? In 2007 the bottom quartile (long tail of smaller acts) had an average of 22 gigs; in 2010 they had an average of 38 gigs

Songkick divided artists into quartiles based on their popularity. Songkick used its internal popularity ranking, which is based on the number of users who are tracking the artist and want to see them live.

Songkick found that the band with the most total tour dates from 2007 to 2010: All Time Low, with 508 shows (more than one every three days).

"We believe Austin and Madison rank the highest because they have large collegiate populations with a huge appetite for live music. Austin and Madison both have hundreds of venues that can host many touring rock acts for lower prices," said Ian Hogarth, Songkick CEO and co-founder. "We think the uptick of smaller, long-tail bands touring in more places than ever before, is a result of a growing awareness of these bands via the Internet."

Fans can also use Songkick to share information, photos, setlists and reviews with friends across popular social networking sites.

"There's a huge appetite for live music," said Mike McGuire, vice president, Media Research of Gartner. "But consumers can't satisfy that appetite if they don't know about the shows, which is why connecting touring acts with paying fans is so important. Reliable online concert information is a must-have component for almost any music-related online service, from paid music subscription services to download stores, music news sites and social networks."

About Songkick
Songkick, the home for live music on the web, is now the second largest live music destination after LiveNation. Recognized by Billboard Magazine as one of the Top 10 Digital Music Startups of 2010 and voted Best Innovation in BT's 2010 Digital Music Awards, Songkick makes it easy for fans to track concerts for their favorite artists so they never miss them live. Songkick aggregates artist, concert, festival, venue, and ticket information from across 60 countries, so fans can receive personalized alerts for upcoming shows in their town and find the cheapest tickets. Fans can use Songkick to share concerts on other social networks, and add photos, setlists, and reviews after the show. Songkick's live music information is distributed across a network of partners including YouTube, Vevo, and The Hype Machine through their API.

Songkick is backed by Index Ventures and Y Combinator, as well as angels from the technology and music industries. Please visit www.songkick.com for more info.

###

On Nov 20, 2010, at 4:47 PM, lucrls wrote:

You might want to check the Universal Access pane in the System
Preferences.
Maybe Universal Access got enabled by mistake?

That's where the problem was. Thank you very much. I can breathe again.

Ron
Living and playing outside the box.






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