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Plowboy
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« Reply #20 on: October 23, 2003, 06:44 AM » |
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Yes I did... LOL = Laugh out loud. I was laughing at myself for making the mistake. I know that Joe turned 74 on July 17th. A big Duh for me.
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blue-eyed soul man
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« Reply #21 on: October 23, 2003, 09:37 PM » |
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shows some nice touch (with that close miking) on
"kathy's waltz"
and the brief solo (where he plays the melody line
on the toms) on "everybody's jumpin'"
always appreciated brubeck and morello (and the
overall feel of, not only the album, but of that time.
that period. where, it seemed like the music mattered. and every-little-thing wasn't contrived or
following a "formula").
cheers to those guys, AND the guys at columbia
records. (great re-issue, with the expanded notes).
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Plowboy
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« Reply #22 on: October 24, 2003, 06:47 AM » |
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Joe told there was a big battle between Brubeck and Columbia when Take 5 was recorded because the head of Columbia (his name excapes me) felt the tune was not commercial enough for the listening audience, especially since the song was in 5/4. I guess he was proven wrong.
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blue-eyed soul man
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« Reply #23 on: October 24, 2003, 12:52 PM » |
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goddard lieberson. (in the notes, brubeck says the album was already out a year before lieberson
decided to release it to radio, and for jukebox play).
i won't re-cap the notes here (anybody interested
can read them), but i admire the project, and how
they jumped in and did something creatively different
(and did it well).
tell mr. morello we said "hey".
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blue-eyed soul man
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« Reply #24 on: October 24, 2003, 01:20 PM » |
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i think the album is interesting on two fronts:
1: it's not surprising that we find ourselves
talking about it on a drum forum (the album
is a study in rhythmic changes) and
2: it's a good story of artistic sensibilities (and
brubeck not compromising what he wants to
do musically) even though he knew going in
that the project wasn't "commercial", or not
what the corporate types wanted or expected.
sometimes music of integrity can be commercially
successful.
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nudrum
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Posts: 1470
A man and his cymbalta
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« Reply #25 on: October 24, 2003, 01:36 PM » |
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I played to Time Out, on LP, when I first started to get interested in jazz. I have always loved that album.
All the songs are either in an "odd" time signature or switch between time signatures. It probably helped my development alot.
I found myself playing "Take Five", the LP, to one of my students. He thought it was cool.
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Enjoying a resurgence in jazz gigs.
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drumz1
Silver Member
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Posts: 360
Trust me, I'm a drummer.
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« Reply #26 on: October 24, 2003, 05:25 PM » |
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Musicalilty always superceeds chops which many of us forget.
You sure got that right, Plowboy. I know LOTS of drummers who have incredible chops, and still can't cop a groove. They are so busy being full of themselves and trying to impress the audience that they forget everything else. Too bad that "playing for yourself" is more important to them than "playing for the song". The exceptions to the rule are performers such as Rich, Bellson, Weckl, Gadd, Colaiuta, and a few others. Yes, they had chops from hell, but they always played with a musical concept first and foremost. Regards, drumz1 |
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I told my wife that a husband is like a fine wine; he gets better with age. The next day, she locked me in the cellar.
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random
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« Reply #27 on: October 24, 2003, 08:54 PM » |
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good use joe!
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KourousX
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« Reply #28 on: October 25, 2003, 04:38 PM » |
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Hello Jazz Drummer,
As you can see from the album cover, Joe was using white coated heads on a Ludwig kit that was not "bebop-sized".
Two very important factors in the sound you hear on "Pennies":
1. The acoustics of Carnegie Hall. I saw Brubeck there 10 years ago. Drummer Randy Jones was unmiked -- on a soft ballad, I could hear every single detail of his brush swirls from THE VERY LAST ROW, hundreds of feet away from and above the stage. Drums sound thunderous in C. Hall.
2. The digital remastering. Nowadays, with digital mixing, you can change EVERYTHING about every instrument, including the timbre of the drums and the "virtual room" they were playing in.
Cheers
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bongo
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Designated Driver
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« Reply #29 on: October 25, 2003, 08:35 PM » |
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I saw Joe do a clinic when I was 14 back in the 60's. He believed in wide open tuning (yeah like Bonham) and said things like 'Get that pillow out of your bass drum!'
He was incredible and said 'ANYBODY can do stuff like this' and proceded to chop it up like Buddy. Well I certainly couldn't chop it up like that, but the point was is it's more cool to play interesting melodies, to make a musical statement.
Another that stuck with me was how he made fun of guys with lots of cymbals, called them 'Cymbal Simons'.
Joe is something else!
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Plowboy
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« Reply #30 on: October 27, 2003, 12:58 PM » |
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Bongo that is funny about the Cymbal Simons. That is Joe's sense of humor. His attitude about cymbals is, you only have two arms.
Joe's "anybody can do stuff like this" is a perfect example of the positive approach he has with his students and who can chop it up like Joe?
Joe doesn't want his students to play like he does. He gives you the tools and wants you to be yourself behind the kit and make that musical statement that you mention.
Blue-eyed soul man, think about how difficult it is today to challenge the record company over musical intergity (as if the labels have any).
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Joe
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« Reply #31 on: October 27, 2003, 01:10 PM » |
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Plowboy—I was wondering if you know this; did Mr. Morello use calf heads when he recorded Take Five? I ask because weren't Mylar heads introduced shortly before?
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I'm not a particularly slow player, yet I don't play fast. I play half-fast.
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Plowboy
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« Reply #32 on: October 28, 2003, 07:03 AM » |
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Joe, I honestly have no idea. Joe has never mentioned using calf heads in all of the discussions we have had about drum gear.
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