Dec 142009
“Make the hard stuff look easy and make the easy stuff look hard.”
Pribek
Trouble Ain’t Over
| © 2010 Pribek | Suffusion WordPress theme by Sayontan Sinha |
“Make the hard stuff look easy and make the easy stuff look hard.”
| © 2010 Pribek | Suffusion WordPress theme by Sayontan Sinha |
I would follow Chet Atkins anywhere, even unto death, second only to Jesus Christ Himself. I want you all to know that I have never said that about anyone else in my whole life, Nope:: not even Flo my waitress at West Texas Bar Atlanta.
And friends — and all I ever asked is to be your friend –
This is the first Day of Wisdom with following eleven of “TWELVE Days of Wisdom 2009,” coming to you from your humble, sometimes addled, friend, and cousin of a cousin, brother from another Mother: MooPig Wisdom da’ Furst.
Pat Darnell and Friends´s last blog ..2nd Day of Wisdom :: Are We Good at Pretending?
I someday hope to earn my CGP, and as a fingerstyle player, he’s the master, but he was never the man I’d follow to storm the gates of hell. That’s Curtis Mayfield. But as a line, that’s up there with “If you play a bad note, play it again and people will think you meant it.”
Sans Direction´s last blog ..In order to play this song, you have to have a moustache….
For me and my house, when asked about acoustic, jazz comes to mind. And Chet Atkins is my pick of the litter for the American Classical Music. And not because he is a jazz player, or is he?
Chet Atkins says to me still to this day: “he … [C.A.] … is fascinated with this instrument, and fascinated with what he can do with it… he [C.A.] wants you to be fascinated with it, too.”
That’s right, fascination. [I wonder if Atkins' fueng shei of balance between neck and box appeals to Oriental mindsets?] Remember the Suzuki Method.. ever see small kids, all with 3/4’s aggressively sawing away on Joy or Bartok… at local Montessori Skools…? Such an experience would not be soon forgotten if you had.
I would like to study the method till I felt certified, but my guitar teacher won’t let me..
I still think of HRH Chet Atkins as the Father of something — like others we have discussed. Father of Digit Tones?
Reference:
Some of you know, I have a less than simple mind when it comes to art, music and other non-paying jobs. Much evidence points to our anti-music sounds hollering back since the “O” -generation come along, that my guy in the excerpts below explains — ” … Eddie [Durham] played the guitar like a horn–a solo line over chords, yes, but the chords accenting the solo lines based on the chord changes. … ”
Doesn’t that describe Chet Atkins’ swing, finger pickin’ and chord exchanges? I think he studied Mel Bay’s books …
Makes sense: one well said excerpt from growling wolf – ” a solo line over chords… ”
Ooops, something just came up from my Castigated Guitar Player search…. CGP?
Look at this Daily Growler: life in new york without mary travers
Excerpt: “…
…To me, the guitar ruined American music after the Beatles became its total influence. The electric guitar was invented by a jazz man, Eddie Durham, a trombone player in Count Basie’s swingiest K.C.-based band who became fascinated by adding electrical pick ups to an acoustic and hooking them up to speakers that later became the first amps. Eddie played the guitar like a horn–a solo line over chords, yes, but the chords accenting the solo lines based on the chord changes. Yes, there had been great acoustic guitar players: Son House was a great acoustic guitar player; so was the overlooked Teddy Bunn; and I used to love the way Memphis Minnie played the acoustic.
… But to White rock guitarists, noise meant more than knowledgeable execution, so the rockers brought over Marshall amps from England and potted them up to HIGH and after that rocker guitarists got stuck on a rather amateurish 3-change style–key of C, with changes involving sliding back to A and then coming back to C via B-flat.
(by growling wolf for the daily growler)
Mr. Unknown Hinson – http://www.youtube.com/watch?v=0X69rIzFQDY. An excerpt: “Any damn idiot can make that racket.”
You’ll find that a far more common key for the noisemakers is E, in part because if you strum the strings without fretting, you’re getting a variation of an E chord. Well, E minor. Strictly speaking, Em7sus4. But anyway…
I think ultimately it’s a choice between earnest and clever. Jazz guitar is clever. Jazz is clever, and it’s getting more and more clever as you go. Programmers know that you will be half as clever when you’re trying to understand what you did as when you did it in the first place, which means that clever code, and thus clever playing, is unintelligible to other people, and to yourself the next day. Big bands were big because Marshall hadn’t invented the stack yet, so if you wanted the power, you had to have seven men with brass horns in order to get it, and if you wanted anything over the Krupa-style drummer and all those dancing feet, you needed the power, and you can’t make seventeen people turn on a dime, so the soloist and the arranger had the clever. Come along to bebop, you had a much smaller band and nobody danced, so there was much more clever to go around. And the hall was smaller. And smaller. And smaller.
The audience wants earnest more than it wants clever. And it wants the girls to want to dance.
Sans Direction´s last blog ..A Token of Frank’s Extreme