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Carol Kaye dilemma
- Thread starter ZenderBender
- Start date
I don't see an issue, if you like her material get it and learn from it. Just because you buy her books doesn't means your going to be friends and go to dinner with her.
In this business you need to learn to get along with people you don't like because sometime that person is the one who throws a lot of work your way. Just cause you work with them you don't have to go party with them after the gig. You show up, play the best you can, say thanks for the check, and go home.
In this business you need to learn to get along with people you don't like because sometime that person is the one who throws a lot of work your way. Just cause you work with them you don't have to go party with them after the gig. You show up, play the best you can, say thanks for the check, and go home.
now that I looked more closely at the myspace page, I feel dumb for asking. It's pretty obvious now. Though it's kinda sad that "Getz/Gilberto" was the last jazz album to win album of the year until last Monday...
I saw the awards, but it wasn't until I read the headlines that this occurred to me...yeah. That was the last time a Jazz record got album of the year.
EDIT: Actually, I just checked Herbie's Wiki, and it turns out it's the ONLY other time a Jazz record won Album Of The Year.
What difference does it make about Carole's personality or tastes? I love her books, and the basslines are great regardless if they are Jamerson's, Kaye's or some unnamed arranger's. Resently I bought on Amazon what I thought was a used book of her's on Jazz. Turns out it was new, came from her home address with a nice note from her... and about 15 pages of xerox stuff about her life and the things she's done. Very interesting reading. I wish I had half of the music experiences she listed... but I'm really glad I don't have to depend on the bookkeeping of Motown or any other recording company to justify my resume or royality check. She has an amazing past, she is a unique talent, and what she says is worth considering.
Yeah. Though there have been a few others that have been majorly jazz-influenced. Particularly Steely Dan's Two Against Nature.
Run a quick search of Carole Kaye on this forum and you'll see that old threads that get very nasty and never end pretty.
Herbie should of been winning Album of the Year back to the 70's when the Headhunters album came out.
Hi --
I got some materials of Ms. Kayes off of ebay. When I checked the seller, it turns out it was Carol herself. My guess is she puts stuff on there as well as another avenue of marketing. Thats cool with me, as I saved a few bucks. I've found the materials very helpful. Some has been beyond or beside my style, but its all been interesting. Also, I was pleased to find the book personally inscribed and autographed. My vote is go for it.
rock on with your bad self,
Bazzy
I got some materials of Ms. Kayes off of ebay. When I checked the seller, it turns out it was Carol herself. My guess is she puts stuff on there as well as another avenue of marketing. Thats cool with me, as I saved a few bucks. I've found the materials very helpful. Some has been beyond or beside my style, but its all been interesting. Also, I was pleased to find the book personally inscribed and autographed. My vote is go for it.
rock on with your bad self,
Bazzy
Yeah. If you look at the Wikipedia chart of albums of the year through the years, during the 1970s the Recording Academy's infatuation with Stevie Wonder led them to neglect so many other artists.
I ordered the Carol stuff. I hope it's as good as I hear it is. Speaking of Carol, I'm really stoked about this movie:
http://www.wreckingcrew.tv/
http://www.wreckingcrew.tv/
Just don't take any of her instrument setup advice. I heard she thinks that the bridge saddle positions don't really matter, and that it all has nothing to do with intonation.
I notice she's playing guitar in the picture on that site.
Where did you hear that?Just don't take any of her instrument setup advice. I heard she thinks that the bridge saddle positions don't really matter, and that it all has nothing to do with intonation.
From Bob Lee:
Her worst nightmare, and constant nemesis. He has this bad habit of telling the truth, and exposing her worst boasts.
I'm sure Bob would tell you exactly where she posted this particular bit of nonsense.
I can't believe she'd be foolish enough to debate something about setup that is so well known, and do it with someone who USED TO WORK FOR TOBIAS!
From Bob Lee:
Her worst nightmare, and constant nemesis. He has this bad habit of telling the truth, and exposing her worst boasts.
I'm sure Bob would tell you exactly where she posted this particular bit of nonsense.
I can't believe she'd be foolish enough to debate something about setup that is so well known, and do it with someone who USED TO WORK FOR TOBIAS!
That is hilarious. I liked where he used the word "gobledygook" at the end. I can't imagine any educated musician would think that what was said in that video is anything but 100% accurate. If Carole Kaye said that about intonation, well I would take anything else she said with a grain of salt too.
I realised that I do have a book of hers on some basslines for different styles and so on. I would give her credit where it is due, but I wouldn't take everything she, or anyone else said, on face value alone.
Pretty much the point. The matter points out well that all that she says is not to be believed.
The books are great, but Carol is… well, a character. As has been said, take what she says with a kilo of salt, but what she writes in notation or records, take as gospel.
Part of what she says, though, matters: gear is only important in so far as there's something wrong with it. Once it's properly functional (meaning, correct action and intonation, and capable of getting a sound that works musically for what you want to do), you can forget about the gear and start playing it. That's an important antidote to the perennial beginner electric guitarist's obsession over what precise gear is in famous artist X's setup. Bass players are less prone to that particular failing, but it's still important to know that it's a fallacy that gear is everything. Kind of like Ken Rockwell saying that the camera doesn't matter in photography… it does, but most of the game is in the photographer's head.
Part of what she says, though, matters: gear is only important in so far as there's something wrong with it. Once it's properly functional (meaning, correct action and intonation, and capable of getting a sound that works musically for what you want to do), you can forget about the gear and start playing it. That's an important antidote to the perennial beginner electric guitarist's obsession over what precise gear is in famous artist X's setup. Bass players are less prone to that particular failing, but it's still important to know that it's a fallacy that gear is everything. Kind of like Ken Rockwell saying that the camera doesn't matter in photography… it does, but most of the game is in the photographer's head.
