toneknob

You'll all be doing it by the weekend

Opposite for me! I was in Genesis tribute bands, whose Mike Rutherford started off as a hugely original and inventive player, then got a bit lazy/boring once Steve Hackett left and MR took over on guitar. Compare for example Firth of Fifth, original 1973 version vs the live Seconds Out version especially in the guitar solo - a very different kettle of fish.

Even if you're in a tribute band, it depends. There's always a smart derrière in the audience (or the band) who says "you played it wrong". Oh right, which version are you thinking of? "Oh the 1973 studio out-take version on a bootleg I've got". ok, I learned it from the well-known live album from 1977. And other parts from the 1988 reunion tour. Would you like your money back? On the other hand, in my Gary Burton tribute band we just aim for the general vibes /oneforthejazzers

An ex-colleague is one of the Morris Men (over the singer's right shoulder in the first verse; later seventh out of the phone box). They're the Abingdon Traditional Morris side. One day I hope to audition to be a straw man.

A bit more Michel Gondry love

Yeah my horn lines are embarassingly out

Speaking of Superstition, it's always good to find an excuse to pull this out: https://www.liveabout.com/mixing-stevie-wonders-superstition-1817747

There are certain points I can almost see his passion fruits

Another vote for PJB, but in the sales (my earpads are ok btw)

Mouradian pops up here, about 20 minutes in. But you should watch all of it. There's far too much to unpack from this video than I could ever cover in a single post. But ... the HAIR

Don't worry about it. There's loads of bands I don't like but I've realised that it's ok to not like something

I've heard another (American) name in the mix to replace Percy, don't want to start unnecessary comparisons and rumours though, although it's a pretty trustworthy source. Jeff Berlin is awesome of course but not sure he's right for Brand X. It's possible that the rumours have stemmed from twitter posts from a fake account pretending to be John Goodsall - see drummer Kenny Grohowski's facebook page for more. (You'll also see hints at the new drummer - Tobias?) Shame really as I'm a massive fan of PJ - I saw BX at the Jazz Cafe in the 90s so tick in box there, but they had sound issues which took the sheen off and also it was the mid 90s so I've forgotten most of it. I've got tickets to see BX at Ronnie's and Trading Boundaries, when it became clear that John Goodsall wouldn't be playing it was the presence of Percy, the one remaining actual Brand Xer, that kept me on board. Touring the band in Europe without any BXers is going to be a pretty hard sell if you ask me. Looking forward though - anyone hear Pakt? It's Percy's new outfit with Kenny Gr, Alex Skolnick and Tim Motzer.

Saw them twice on the reunion tour: Wembley Arena, seated - bit boring; Vienna, standing near the front, brilliant. Also, top prize winner for "fewest notes played on a Moog Taurus I". Also also, the Certifiable DVD/Blu-ray is amazing for picture and sound quality.

Paul sold me his Tech 21 SansAmp Geddy Lee YYZ pedal. The pedal arrived super quick, is in excellent condition, and Paul was patient with my questions and supplied extra photos of the pedal and parcel tracking details. Good stuff all round.

Good call. See also Wolfgang Reichmann, without whom early Simple Minds and Ultravox would've been clean out of make-up and synth sound ideas

Here's something a bit more up to date, Mood Taeg (spotify link has the full version) https://open.spotify.com/album/5J30Ff3m2TXYL39gOJoB9i?si=oTlYOSEmTiqi2oESrbhScg

I saw Faust (possibly FaUSt, I'm not sure of the difference) at Cafe Oto when live music was a thing. It featured on the one hand an angle grinder on scrap metal in one song, and on the other throughout a lady was knitting onstage continuously through the set. A music of contrasts

Although he's admitted it's not terribly accurate, and the truth has been embellished in parts. A good place to start are the Soul Jazz "Deutsche Elektronische Musik" compilations, here's v1, another two volumes (at least) are available. https://open.spotify.com/album/3lwUtVJbbPyVvgyXKjRt2Q?si=0jMpU4k3Sm2CPkIy4JoJWg Another couple I have bookmarked: Cologne Curiosities : The Unknown Krautrock Underground 1972-1976 https://open.spotify.com/album/0bLqscEyXOX84uhcnthb6r?si=ZQFykuGpTQGShWl5LYbaPw Mathias Modica presents Kraut Jazz Futurism https://open.spotify.com/album/2d2rP5ogmiaIIDPS9qDl2p?si=JKlhnAPTSQeV3wdk-jvWMA Check out Volumes 1-4 of Kosmischer Laufer (see above), plus live EP - https://kosmischerlaufer.bandcamp.com/. There's an intricate back-story relating to electronic music being composed in secret to inspire and motivate the East German olympic teams in the 70s, which almost suspends disbelief long enough to forget it's actually a guy from Edinburgh doing it all over the last few years. (That's him on Live In Graz. "last chance for some jogging on the spot", ho ho)

Speaking of Kosmischer

Great, another reason to drop the Sky subscription

I've got to the end of the first section (page 20-ish onwards), and it kind of feels like I'm playing endless almost-chromatic lines, missing out the odd note for a whole note step here and there. Anyone else?

If it helps you as a seller I'd buy the Bruce Thomas if I had to buy one (hypothetically of course)

Turns out the answer is on page 21. We're in the key of C now and the ii-V pattern is Dm7-G7. Same thing is happening though, we're descending through the ii and there's no space for a passing tone between beat 3 of the ii chord and beat 1 of the V chord. (This time it's C and B, previously it was Bb and A). GW says "you can see the direction has to be interrupted since a passing note is not possible between C and B", and he plays D Db C Bb, then B A G Gb as the first four beats of the V chord. So back to my original question, there's no space for a passing tone between the Bb of the Cm7 (the ii chord) descending to the A of the F7 (the V chord), so the descending pattern has to be interrupted. So the answer is Ab - I'd play Eb C Bb Ab, then A F A Bb.

Thanks, what I meant was specifically about Cm7 to F7, starting on the m3 of the Cm7 and descending with three chord tones then a passing tone. Eb, C, Bb, then what? (carrying on the descending motion to a chord tone of F7)

Question for the nascent GW students (or indeed those more experienced). I'm doing the lesson on page 13, Passing Tones, playing three chord tones then a passing tone to the next chord tone of the following chord (looping around Cm7 - F7). Say I'm starting on the third of the minor 7 chord, then descending. So that's Eb, C, Bb. What's my next move? Either 1. another Bb then A on the downbeat (although the Bb is "wasted" to borrow from the terminology on page 14), or 2. G (which is another chord tone of Cm7, so no passing note here) then down to F for the downbeat? I imagine the answer is "whatever sounds good" or "it depends". Curious as to your feelings about it though.