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On Fri, Oct 8, 2010 at 5:00 PM, Bob Hansmann <bobbybmusic@...>wrote:

Hi Angelo,

I think these are the worst words of advice I've heard by a "pundit"...

I disagree with you. I think that what he is saying is that if you want
to become one of the many amateurs out there whose creative output is
worth zero dollars and no career, the way to do it is by posting your
work on the Internet.

If you think playing gigs in toilets in Brooklyn will get you more
attention than a video on Youtube that goes viral, play away. Yes, you're
competing with many other people,but you are also reaching more people than
by not getting your stuff out there. The internet is not a fad. They thought
that about radio, movies, the "talkies" and TV. Many people scoffed at all
these new-fangled inventions, while the smart people figured out ways to
make money from them...

I have a friend who is an artist. He still has a rotary phone. He schleps
his paintings around the Eastern seaboard to these "art/crafts shows" and is
always complaining about how little he makes.
I tell him to get a web site so that people all over the world can view his
work. He counters that Chinese painters will steal his work. Trust me, his
stuff isn't that original that they would want to steal it. Everybody he
knows tells him he needs to be on the web. Still he schleps...
I cannot suffer Luddites...

You are right that the other problem has yet to be resolved (or

addressed at all, really) - if no Internet exposure, then how exposure?

Read the second comment on that video. Very eye-opening. It might just be

that model you're looking for...

I know that there are major copyright issues having to do with the

Internet - once something is put out there for free, it effectively
loses copyright protection. Or at least this used to be true; but even
if that's been changed, how is it possible to protect something once
it's become a digital file on the Internet?

All I can say is that I always keep my eyes open and upon those who are
apparently making the music business work for them. They are very few
but they are out there. If a workable business model is possible, it'll
no doubt be influenced by what these artists are doing to one degree or
another.

On that note, Beatle recordings have been once again refused to Apple.
Real dumb guys, those Beatles. They'll never make it...

They don't need to be smart. They're rich :-)

The term was coined by Jerry Wexler in 1948.

He may have based it on an RCA line called Blues and Rhythm.

It replaced the term "race" music.

I could not find any indication of whether he was thinking about I Got Rhythm and Blues changes, or just rhythmic styles of music and blues styles.

... saw Pat Metheny tonight ...

In a word, he:

"BLEWMYMIND!"




.....(.....again....)
John Amato
Isaiah 55:11

At 06:44 PM 10/8/2010, JVegaTrio@... wrote:

I haven't been following this thread, but "rhythm changes" used to mean
the changes to "I Got Rhythm", and, always in key of concert B flat. "Rhythm
changes" has nothing to do w/ the blues, imo.

Cheers,
JV

Juan Vega

Yes, absolutely.

On 10/8/2010 6:44 PM, JVegaTrio@... wrote:

I haven't been following this thread, but "rhythm changes" used to mean
the changes to "I Got Rhythm", and, always in key of concert B flat. "Rhythm
changes" has nothing to do w/ the blues, imo

I wasn't sure where that was going myself.

best,
Bobby

Hi Juan,

Ila CAntor is a good player, ya done good!

Thanks, Juan!

best,
Bobby

Holy Crow. Never did I suspect till now that the term "Rhythm'n'Blues" referred to I Got Rhythm and well, Blues changes.
As if any musical genre could rely on two basic song formats alone! Absurd!
BO)
Ammo

Hi Angelo,

I think these are the worst words of advice I've heard by a "pundit"...

I disagree with you. I think that what he is saying is that if you want to become one of the many amateurs out there whose creative output is worth zero dollars and no career, the way to do it is by posting your work on the Internet.

You are right that the other problem has yet to be resolved (or addressed at all, really) - if no Internet exposure, then how exposure?

I know that there are major copyright issues having to do with the Internet - once something is put out there for free, it effectively loses copyright protection. Or at least this used to be true; but even if that's been changed, how is it possible to protect something once it's become a digital file on the Internet?

All I can say is that I always keep my eyes open and upon those who are apparently making the music business work for them. They are very few but they are out there. If a workable business model is possible, it'll no doubt be influenced by what these artists are doing to one degree or another.

On that note, Beatle recordings have been once again refused to Apple. Real dumb guys, those Beatles. They'll never make it...

best,
Bobby

At 12:21 PM 10/8/2010, you wrote:

Alisdair posted: The main result is that if you practice for 20 minutes, and
then you are passively exposed to stimuli for 20 minutes, you learn as if
you have been practicing for 40 minutes. You can cut the effort in half, and
still yield the same benefit.

Really? Ok, passively exposed to stimuli for us would be listening to a favorite album or two?

Chris

On Thu, Oct 7, 2010 at 7:54 PM, akmbirch <akmbirch@...> wrote:

The following statements were made by musician, songwriter, and soundtrack
and record produce T. Bone Burnett at the Future of Music Coalition's Policy
Summit on Monday, see Youtube video clip.

"If I were starting off right now, knowing what I know right now, I would
say, 'don't put your music on the internet,' that's what I would say. I
would say stay completely away from the internet, have nothing to do with
it.

Don't be on Facebook, don't be on MySpace. You know why? Because as soon
as you're on MySpace, you're one of 6 million......

If you're a musician today, and you want to record music, and you want to
circulate that recorded music, don't put it on the internet, because you're
degrading the thing that you're doing to such a low point that... its value
goes to zero...."

I think that it's kind of ironic that we have received these "words of
wisdom" via the very instrument of communication that he is decrying...
How would someone who's never been heard get heard while people are hearing
other people on the internet?
I think these are the worst words of advice I've heard by a "pundit"...
Well, maybe not the WORST, but close enough to it...

I haven't been following this thread, but "rhythm changes" used to mean
the changes to "I Got Rhythm", and, always in key of concert B flat. "Rhythm
changes" has nothing to do w/ the blues, imo.

Cheers,
JV

Juan Vega

Ralph,

聽聽聽 Thanks for your tremendous work on your Vanilla Changes Book website
补迟听

It's quite an education and聽I use it often (along with GuitarGuy). Every pop and
jazz guitarist needs to visit.

A while back I accumulated a YouTube playlist of Louis Stewart clips:
Guitarist - Jazz: Louis Stewart.

My channel is

There are other guitarist playlists on my channel that I hope may be a
convenience for you.

Cheers!

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

Alisdair posted: The main result is that if you practice for 20 minutes, and
then you are passively exposed to stimuli for 20 minutes, you learn as if
you have been practicing for 40 minutes. You can cut the effort in half, and
still yield the same benefit.



John: I believe the athletic community has been working this way for years.
I didn't know it hadn't been formally tested until now.



Visualization and cross-training have been a part of any serious athlete's
bag of tricks for decades now. It is especially valuable in avoiding
repetitive stress injuries.





John



Reciprocity

In jazz_guitar@..., "Ralph Patt" <ralphpatt@...> wrote:
I've posted a few tracks of Irish jazz guitarist Louis Stewart.
There are a lot of clips of Stewart on You Tube
I'm on a crusade to have more Americans become
aware of Stewart - a comlete jazz guitar player.
www.ralphpatt.com

Ralph,
Thanks for your tremendous work at your Vanilla website! I use it all the time (along with GuitarGuy). Every pop or jazz guitarist needs to favourite your site.

A while back I created a playlist with 100 YouTube clips of Louis Stewart: Guitarist - Jazz: Louis Stewart.


I also have other pop and jazz guitarist playlists. They may be a convenience for you.

Cheers!

My old student, Ila Cantor, will be at The Jazz Standard with the
Aaron Parks Quartet on Tuesday and Wednesday. I'm really proud of her,
and hope that any of you in the area will come out for some good music!

Lisa. I don't know who at Aphis gave you this information but it's
either obsolete, or just plain wrong. If you go here:
you will find a copy of the Aphis manual on importation of plants
and you'll notice that on the cover is a Martin D-28 guitar. The
manual is a horrible bureaucratic tome but, if you're interested, it
goes into great detail on the identification of dalbergia nigra and
what an agent should do about it. As to the Lacey Act just covering
raw lumber, once again this is just incorrect. The Lacey Act has no
such restrictions. You can read about that here:
.

I have no doubt that you've traveled the world with Brazilian rosewood
guitars without problem. So have I. But the fact that this has been
the case doesn't mean that it will be the case in the future.
Traveling with a Brazilian rosewood guitar and saying you've never had
a problem, reminds me of the guy who jumped from the top of the Empire
State Building. As he passed the 30th floor he could be heard saying
"so far so good".

It's true that the Gibson affair has nothing to do with Brazilian
rosewood. It would appear that there is a problem with the export
permit for Madagascar rosewood, and that's covered by the Lacey Act.
The Lacey Act is used in the USA to enforce CITES but goes well beyond
that framework.

All best,
Robert

Bobby,

Ila CAntor is a good player, ya done good!

Cheers,
JV

Juan Vega

I have a Victor Baker 7 as well and it tends to feed back a bit too, but so do all hollowbody archtops.
All of the above suggestions are right on. What works for me is to have the amp on my left side, pointing towards the headstock. Also, I try to get farther away from the amp than normal. Seems to work. Of course cutting the bass helps, as does putting the amp on the floor instead of a stand or a chair.

Hi Alisdair,
Thank you for this, and for all of your wonderful posts regarding the business of music. You are a tireless soldier!

best,
Bobby

Buddy Collette, Musician Who Played With Jazz Greats, Dies at 89
By DENNIS HEVESI
Published: September 29, 2010


Buddy Collette, a jazz saxophonist, flutist, clarinetist and bandleader who blended his usually soothing, often pungent sounds with those of many jazz greats and who was a leader in the struggle to break racial barriers in the music industry, died on Sept. 19 in Los Angeles. He was 89.

The cause was a respiratory ailment, his daughter Cheryl Collette-White said.

Unlike many jazz musicians who gravitate to New York to achieve visibility, Mr. Collette remained primarily a West Coast player, performing and recording with stars there and teaching music at several colleges and universities.

Over the years he played with performers like Charles Mingus, Charlie Parker, Dexter Gordon, Duke Ellington, Count Basie, Thelonious Monk, Stan Kenton, Sarah Vaughan, Ella Fitzgerald, Frank Sinatra, Nat King Cole, Nelson Riddle and Louie Bellson.

Mingus so admired Mr. Collette's saxophone playing that he went so far "as to claim that his friend Buddy Collette could play as well as Bird," a reference to Parker's nickname, Ted Gioia wrote in his 1997 book "The History of Jazz."

Mr. Collette came to national attention in 1955 as a flutist with the drummer Chico Hamilton's quintet, playing alongside the guitarist Jim Hall and the cellist Fred Katz. He had already made his mark, moving from small jazz groups to big bands and from film studio work to television.

Among his recordings was "Live From the Nation's Capital," a Grammy Award nominee in 2001. The New Grove Dictionary of Jazz said Mr. Collette brought a "virile approach" to the saxophone and an "improvisational, swinging and, in its own way, hot" sound to his flute-playing.

A stroke ended his playing career in 1998. He also taught music at several colleges and universities in California.

William Marcel Collette was born on Aug. 6, 1921, in the Watts district of Los Angeles. His father, Willie, was a pianist; his mother, Goldie Marie, was a singer. In addition to his daughter Cheryl, Mr. Collette is survived by two other daughters, Veda and Crystal; a son, Zan; eight grandchildren; and nine great-grandchildren.

As a child Mr. Collette went to a Louis Armstrong concert with his parents and soon turned from piano lessons to the saxophone 鈥� and jazz. When he was 12, he formed his first band. Among the youngsters in the group was Mr. Mingus, whom Buddy persuaded to switch from cello to bass.

After serving in the Navy in World War II, during which he led a dance band, Mr. Collette became a well-known name among the swing and bebop players in the night spots dotting Central Avenue in Los Angeles. In 1949, he broke a color barrier when he became the only African-American in the band for the Groucho Marx show "You Bet Your Life."

Along with the alto saxophonist and composer Benny Carter, Mr. Collette became a leader in the struggle to eliminate segregation in the American Federation of Musicians. On April 1, 1953, the black and white locals of the union in Los Angeles merged.

"I knew that was something that had to be done," Mr. Collette told The Los Angeles Times in 2000. "I had been in the service, where our band was integrated. My high school had been fully integrated. I really didn't know anything about racism, but I knew it wasn't right. Musicians should be judged on how they play, not the color of their skin."