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Smilin' Sam

Discussion in 'Recordings [DB]' started by Sam Sherry, Apr 30, 2004.

  1. Sam Sherry

    Sam Sherry Inadvertent Microtonalist Supporting Member

    Sep 26, 2001
    Portland, ME
    Euphonic Audio "Player"
    Chris Fitzgerald sent me a detailed critique of "Noble Accents" which I'll share with you all. This is dated October 21, 2003.

    Yes, indeed, and thank you!

    This song, from Steve Grover’s Monk-award winning “Blackbird Suite,” is something of a standard here in Maine. Grover is a really fine composer with an original voice, and his aesthetic is oriented toward “no frills jazz.” That’s a rare combination.

    In short words, Tim was sick. This doesn't reflect what he can do.

    Thank you very much, Chris. No excuses, but FWIW, the majority of the date was much more “free” so this was the tune for walking. Grover and I were playing a lot then and I felt that the hook-up was good. He’s a musician.

    I was using the AMT S-25 VERY close. I’m not sure, though, how much of what you’re hearing derives from the fact that this file was burned off the radio. God knows what kind of compression they used etc. The mic was about 2" off the bass, close to the F-hole (at the engineer’s request) on the treble-side. There was NO monitoring so I had NO say in the sound. The engineer wanted to use some kind of mid-level mic and, having dropped all that dinero on the AMT, I talked him into giving it a shot. We were all in one big room, so I wanted narrow-focus, high-rejection if you please.

    Sound points, well said, and I need to spend serious time integrating them. FWIW I remember asking Grover, years ago, some questions along those lines and his only response (with a wink) was, “Play what the composer intended.”

    Thanks for your comments on intonation. I could wamble and say that this was before I started doing all this work with Cecil, but the simple truth is, I’m going to be wrestling with intonation my whole life.

    God, I hate that. Sometimes I ask. Sometimes I call people on it – particularly if they ignore it when I ask. With this band, I just played. It certainly is easier to be adventurous when people lay a foundation for you.

    Q. These solos strike me as kinda "bassy" and not enough (here it comes -- ready?) "horny." Yes/no/so?

    Interesting. It seems you may be on a different track from what I was thinking and it seems that exploring the point could be fruitful. To me, the question of “bassiness” or “horniness” centers primarily, although not exclusively, on this question: Would it sound lame, today, coming from a tenor, ‘bone or piano? (Don’t get me started on guitars, either.) “Lame” might mean that the harmonic vocabulary is antiquated, focusing on outlining chords in a basic way. “Lame” might mean a lack of rhythmic variety – like, say, quarter notes only? “Lame” might mean an inability to play meaningfully at the appropriate tempo (although this is by no means exclusive to bassists). By that standard, Oscar Pettiford is usually “horny” and Jimmy Garrison is “bassy” (when you can hear him at all).

    Mais non, THIS is what I’m here for. Thanks again, Chris.
  2. Sam Sherry

    Sam Sherry Inadvertent Microtonalist Supporting Member

    Sep 26, 2001
    Portland, ME
    Euphonic Audio "Player"
    Ayuh. The volume knob came and went. It was handy on alternating Thursdays in months with no "R." I don't think it's on the Sampler.

    And I have to say, Ed, that e-hanging around you has been THE thing which has prompted my frequent use of the No-Amp and the corresponding development in my acoustic sound, weak as it may be. Thank you, sir!

    Point well taken. All I can say is that with Beatrice I was SO friggin' nervous. I was wracked -- remember that thread about Hal Galper and energy; that was what it was about. And with Noble Accents, it was the one straight-ahead tune in an evening of free-oriented stuff. But you're dead right and **** excuses.