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Spam and Noodles

thesaxman71

Well-Known Member
Messages
1,687
(copied from my SOTW response)
Nice soft sound and warm low down, i also like the long straight lower notes with no vibrato, just pure tone. Too often a lot of players kinda forget or don't use them low notes as much and end up going higher or just screaching (been there, overdone it then realised there is much more) when a better impact can be with just a simple low soft note and i think the lower notes have real substance and a warm beauty, getting all nostalgic now on sax playing in general but that is a good thing i think. I also detect a slightly brighter tone you are hiding from us, maybe not deliberatly of course and especially when you go up the instrument i can hear it underlying there waiting to burst out, and as a bright tone player myself i would be curious to hear more and to unleash it on us, tho i am just being greedy. As always i like the soft subtle approach showing that it is equally as effective as belting it out full volume, which most of us tend to do at times, i included. Nice one, i am really getting into your way of thinking and approach on these tracks, cheers for the enlightenment fella.

Ian
 

Jamesmac

Well-Known Member
Messages
1,872
Made think it was Sunday morning instead of Saturday. Nice listen, but I was waiting for some phrases that included some articulation, that didn't come. Thanks for posting.
 

Wade Cornell

Well-Known Member
Messages
2,513
Locality
New Zealand and Australia
Many thanks Ian for your kind review. I know this sort of stuff can be difficult for some as it's based on some fairly esoteric modes and the guitarist kind of "wanders" a bit. Nearly the opposite of click tracks and nice tidy easily described changes. Everything is open and uncontrolled. Theory?...keep your ears open, don't get lost, and keep playing.

Not sure what Jamesmac means by articulation. Do you mean play faster? If so why? Should be obvious this ain't mainstream jazz where it's mostly about showing off one's chops. Nothing is written or practiced so I have no idea what the guitarist is going to play next other than he will (hopefully) be somewhere in or around the same mode. My concentration/priorities are on three things: listen/understand, anticipate, and play in a manner that creates a feeling or communicates something. This guitarist doesn't often play "behind", he's a lead guitarist type. As a result I'm most often sort of playing melodic bass lines. This piece is about as far forward as I ever play with him. For me it's always about putting the music first and trying to have it mean something. I can't (and don't want to) control what others play, but I can try to find those places/spaces where I hear a fit.

Once again thanks for the listen and comments.
 
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daveysaxboy

Big ruff Geordie bendy metal blower
Messages
3,303
As always very nice indeed.This is the kind of stuff I love.Pure music,pure journey of delights.
 

Jamesmac

Well-Known Member
Messages
1,872
Many thanks Ian for your kind review. I know this sort of stuff can be difficult for some as it's based on some fairly esoteric modes and the guitarist kind of "wanders" a bit. Nearly the opposite of click tracks and nice tidy easily described changes. Everything is open and uncontrolled. Theory?...keep your ears open, don't get lost, and keep playing.

Not sure what Jamesmac means by articulation. Do you mean play faster? If so why? Should be obvious this ain't mainstream jazz where it's mostly about showing off one's chops. Nothing is written or practiced so I have no idea what the guitarist is going to play next other than he will (hopefully) be somewhere in or around the same mode. My concentration/priorities are on three things: listen/understand, anticipate, and play in a manner that creates a feeling or communicates something. This guitarist doesn't often play "behind", he's a lead guitarist type. As a result I'm most often sort of playing melodic bass lines. This piece is about as far forward as I ever play with him. For me it's always about putting the music first and trying to have it mean something. I can't (and don't want to) control what others play, but I can try to find those places/spaces where I hear a fit.

Once again thanks for the listen and comments.

Wade, nobody said what you are doing is easy, and I suppose if you are composing melodies on the fly, and trying to interact with a , to put it lightly, a very awkward partner, you are naturally going to play in a legato style. But just as a listener, I was referring to hoping for some more variation in articulation.
 

Wade Cornell

Well-Known Member
Messages
2,513
Locality
New Zealand and Australia
As always very nice indeed.This is the kind of stuff I love.Pure music,pure journey of delights.

Thanks Davey. Thought this would be your sort of thing (but of course not as well as you could play it). What's happening with your guitar partner? Long time since we've heard any of your "free form" stuff. No matter as I'll be making more of these available for you and others to have a bash at. Did you see my note to you on the last post (of the previous tune) offering the BT for Tui?

Cheers
 

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