Posts made by Kehaulani

I hear a lot of Dixieland/Trad. Jazz players who rush the beat.

Great. Message has been sent.

Good one!

Anyone want a Legends Heim 2, brand new for half price? I got one in a blur of internetting and realized I already have one.

The box is unopened-straight from the maker. I'll include packing and mailing.

http://legendsmpccom.fatcow.com/legends-heim-2.html

https://www.ebay.com/itm/322540304885?hash=item4b18e679f5:g:Qi8AAOSwlMFZMXjp

$62.58

Or the musician formerly known as "A".

"To me, my experience with American cornets has been exceptionally mediocre. The ones I have played have been out of tune, stuffy . .

Interesting. When I played in the UNT Concert Band, we had a cornet section and a trumpet section. Connstellation cornets. The band director hated jazz and trumpets so., I'm assuming he could hear the difference.

Years later, I had a professional concert band with (when appropriate) cornets, this time Getzen Shephard crooked horns. I can assure anyone it made a difference.

To clarify, "they" refers to American cornets (and I do not concur, BTW).

There are cornets on the market today that just meet the demands of today's musicians better.

Regarding the taking of your workers' passports, that's a logical way if keeping these foreigners from disappearing into the woodwork like they do here. Don't like it. don't come.

When I moved to Japan, one of the first things I had to do was to go down to the local police box and register my residence there. Many Americans would scream loss of privacy. But it helps keep crime down and if one occurs, frequently leads the police to a quick resolution.

I don't want to go into detail, but it happened to me. The cops got the perpetrator the same day and I never saw him again.

I think I may be misinterpreting your words, but I have never experienced hatred as a Gaijin and I traveled and worked the entire width and breadth of the country, Not even mild prejudice against Americans.

The first time I lived in Japan it was still post-WWII Japan. I was always met with respect and interest. The second time I lived there was during the Viet Nam War and Anti-American sentiments were high, yet I circulated freely and always had a good time, resentment being against the govmt. not individuals.

As a post-script, my High School in Hawai`i was nicknamed "Tokyo High" because of its number on Japanese-American students. In a graduating class of over 774, I was one of only nine Haoles (Caucasians).

Don't know the system now, but when I was working in Japan, we had the chimpedas and Yakuza who were entwined into the whole scheme of entertainment. Very corrupt, well-organized and dangerous. On a gig, for instance, the Yakuza boss got the first cut, then the club owner then the musicians.

The money was in an inverse pyramid. The Yakuza boss got a huge chunk (he didn't do anything, but you could get your lips cut and your teeth knocked out if you interfered), then the club owner got as much as he could get away with, then the musicians had to divide the paltry sum left among themselves.

I remember at one point where, in America or England, they would be living the good life of Sex, Drugs and Rock&Roll, the Scorpions (big at the time) were living in a one-room apartment-the whole band.

I played gigs where the waiting line to get into the club was a block long and yet your cut was $15.00, and you say something at your own peril.

If you really want to be authentic, you'll make sure he also knows the French school of tonguing.

Nice Tat. I've seen some horrendous disasters. That tattoo artist did a good job.

I have another Peary Gates story for you:

A man dies, goes to the Pearly Gates and is greeted by Gabriell who asks, "Who are you and what have you done?"

Impeccably dressed in his Brooks Brothers Custom Suit, he answers, "I'm a corporate banker. I have a Barbie Doll wife, live in a three-million dollar estate and drive a Rolls Royce."
"O.K., right." says Gabriell. "Go right in."

Next guy comes along wearing his Nieman Markus clothes and says, "I'm an open heart surgeon, my wife was Miss Florida, I live in a One hundred and fifty million dollar house and drive a Mercedes."
"Sheesh" says Gabriell, "go on in".

Finally, a third guy came along in a T-shirt, jeans and long hair and beard.
"And what's your claim to fame" asks Gabriell sarcastically.

"Well," says the guy. "I live in a cold-water walk-up, I car-pool it to work and my wife looks like a refugee from Greenwich Village".

Gabriell's eyes get as big as saucers and a big smile covers his face.
"Oh cool, a musician. Go right in".

Improvisation is a 360 degree activity. It doesn't have to be, though. We live in a melody/background environment. Nothing wrong with that, I suppose. It's just richer doing the former.

Racial segregation was not the reason for the demise of big bands and the associated high-energy dancing,

I don't know what kind of history some of you have with Jazz but it's not mine. I have never seen a no-dancing sign in a previously dance hall or club.

At the end of the Swing Age many big band players got tired of life on the road went into the studios and clubs, many "residential". These clubs could house neither big bands nor dancing. So-combos for listening.

Furthermore, there was a Musicianss Union ban on recording during WWII which killed a great source of income for big bands. Another reason for musicians leaving them.

Perhaps the biggest reason was simply that going out was replaced by people just wanting to have stable, quiet lives. The era of a house in the suburbs with a man and wife, two kids and a dog. After the Depression Years and then a World War people pretty much wanted to be left alone. Not conducive to high=energy night life.

And TW, this is historic and doesn't have anything to do with today. I spent 20 years in Germany playing clubs that were high-energy and had plenty of dancing. Actually, that's why they came to the clubs in the first place.

" . . one of the things he liked about the Committee was how the spit valves kept the sound moist."

LOL.
Another love/hate relationship. This'll be my fourth, and last, Committee. I figure with that and my Benge, I've got all my bases covered. Time to spend less time searching and more time playing.

@dale-proctor So we can conclude that wet is always preferable to dry.

@barliman2001 said in You know "those moments"?:

@seth-of-lagos Mravinsky certainly let the brass do their thing , as you said, "on the ragged edge"; but that ragged edge was most probably sharpened by the instruments they had at their disposal... look at the year the recording was made: 1953. Stalin was probably still alive during much of the recording process, the Cold War was in full swing, trade relations between East and West were almost inexistent and "the Leningrad Factory" - one of only three places in the Soviet Union where brass instruments were made - still lay in ruins, only being rebuilt and back into business some years later. They probably had to do their best on - if lucky - very old instruments, or - if not - on some student grade horns slapped together somehow; and it is known that some of these musicians were reduced to building their own horns out of any materials they could find. One tuba is known to have had engine springs from a military truck as valve springs, being made out of the brass of spent shell casings...
As the joke went...
What is the difference between a Capitalist and a Socialist violin player?