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tenn_jim

Member Since 18 Jul 2006
Offline Last Active Mar 22 2019 05:37 AM
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#3503026 Emotions and Motivation

Posted by tenn_jim on 06 November 2016 - 11:53 AM

Did you ever wake up, pick up your favorite guitar and just look at it like it is an unfamiliar piece of junk?

I just had such an experience today.  Picked up my old Martin D28, plucked a few notes and just felt like it didn't really belong to me.  Now I wasn't trying to flatpick some old tune, just strum the strings to make sure they weren't dead and since i can't play it anymore, was just listening to the tone.  Usually, the harmonics ring out so rich and full, and just playing the strings will relax me and put me in the mood to try once more.  But today, all I felt was remorse and a deep sadness.

Am I sick?  LOL




#3493542 R. L. Burnside tuning

Posted by tenn_jim on 02 January 2016 - 11:33 AM

So when you gonna write a book John, i have seen enough great (and funny) stories to warrant a fairly thick volume of stories. And Sharon wants to buy me a signed copy for my birthday   :)

 Hear Hear!!!!




#3470319 My band has split, but i am not sad.

Posted by tenn_jim on 19 March 2014 - 12:43 PM

Great photos Rick.  Just remember, it ain't getting old that's a problem, considering the alternative, it's missing the things you could do a few years ago that sucks.  One thing I find out, my mind thinks I can, but my body says, "Oh no you can't."

 

Seriously, you will always have the great memories of the band together.  Now you can make you own memories solo.  Good Luck!




#3462650 Emo Chords?

Posted by tenn_jim on 25 October 2013 - 07:42 AM

Go back to some of the melodies for the 20's and 30's with complicated chord arrangement built around melodies with feeling, to get a little influence. Also try different timing patterns like 5/4, 5 beats every bar, it'll f**k up most punters.

Finally, someone who appreciates good music.




#3452178 Singing

Posted by tenn_jim on 14 June 2013 - 04:41 AM

Simple answer is Yes. . .. The rest will be up to you, and the practice you put in.

 

This has to be one of the best posts I've ever had the pleasure of reading.

 

Great!!!!

 

Jim

 

http://talk-music.proboards.com




#3446017 New Pedal and outboard

Posted by tenn_jim on 16 March 2013 - 05:49 PM

Love those Lowden.  LMFAO :yes:

 

Do you mind if I copy it?




#3438559 Old SG (copy?) Guitar - Anyone Know What it is?

Posted by tenn_jim on 07 December 2012 - 01:35 PM

Beautiful job and now it's a great guitar!


#3437132 Teaching a child to play

Posted by tenn_jim on 09 November 2012 - 09:54 AM

With less than 24 hours advance notice, the strategy I prefer is to do the Jimi Hendrix "Woodstock" version, really . . .

"The Star Spangled Banner" (Jimi Hendrix) -- Woodstock 1969 -- YouTube music video

Really! :guitar:


C'mon...how can you expect an 8 year old to get stoned and play this.\ :yawn: :guitar:


#3434684 Who Makes the best Guitar today?

Posted by tenn_jim on 07 October 2012 - 06:02 AM

I do........................ :laugh2:

Seriously though, i still believe Fender make the best production line guitars.


I guess Fender would still rise to the top for solid body electrics. (Apart from you!)
I've always been a Gibson guy myself (and Martin but only acoustic), but with the latest round of problems with the Rosewood and Mahogany, I don't particularly fancy their new guitars. Even the legendary ES300 series and Les Paul models leave a lot to be desired. Couple those with today's "solid state" electonics in amps, you have a recipe for crappy tones. (Unless you play distorted all the time, then who the hell knows).

I guess we can expect the older vintage guitars to continue to appreciate in value.

Jim


#3434460 Sloppiest Guitarist

Posted by tenn_jim on 02 October 2012 - 11:47 AM

I just finished a book by Wynton Marsalis which told a story about Frank Foster who was playing on the Jazzmobile in Harlem with an avant-garde horn player. The horn player took a solo and Frank stops the tune after that and goes over to the guy and says "What the hell was that?" "I'm playing what I feel" was the response. Frank says "Well feel something in B Flat motherf++ker"


#3434335 Sloppiest Guitarist

Posted by tenn_jim on 01 October 2012 - 06:37 AM

Guess I should have expounded a little more. I can only use an example in my humble opinion. Jimmy Page is a great and talented guitar player, no doubt. So are all of the others I have listed. Page was one of the most highly sought after session musician in England. All of his recordings are 'TIGHT' and extremely technically proficient. Then, the same solos when performed live tend to be a bit "SLOPPY". It could be that Page, when improvising as he did in most live performances, stretched the boundaries of the technicality to achieve persoal expression. That's typical of most highly creative people, in any artform. Some notes not being exactly on pitch, a little slip in time here and there, sneaking up on a certain riff ornote. In other words, their live playing doesn't reflect the technical aspects of their recordings. When I think of Hendrix, I hear a guitar player who is wildly creative and live or recorded, you can hear the creativity. Some people take his use of effects as an attempt to cover up his lack of technical abilities. I don't buy that. I've heard Hendrix play blues with as much technical expertise as anyone. So I don't know if you would call it sloppy, lazy or inconsistent technicality???.. I just wish I were 10% as proficient as any on this list...and I know I'm sloppy.


#3433369 Who's making the best new acoustics these days?

Posted by tenn_jim on 15 September 2012 - 06:30 PM

Wayne Henderson

http://www.fretboard...wayne-henderson


#3431682 films about wine

Posted by tenn_jim on 29 August 2012 - 01:01 PM

No, I just like Reisling wine.


#3428559 Appalachia

Posted by tenn_jim on 25 July 2012 - 05:27 AM

Appalachia remains one of the most impoverished sections of the United States with a majority of the people living in extreme poverty, addicted to alcohol and drugs and most without hope of a better future. Living conditions are similar to those of the 19th century, most without running water or electricity. For the most part, these people are proud, independent beings, living as their ancestors have for the past three centuries. Many are coal miners who begin their life underground at early ages and either die of lung disease, drugs or without hope. Yet, for all the despair, the people cling to their music as an escape from the hopelessness of life's future.

I grew up back in the 30's in this environment. The difference was that my parents were determined that I would have a better future. My father left the mines to work with the upstart TVA as an electrician and with the growth of rural electrification managed to survive the depression, make a better life for us and give me the opportunity for an education. During this transition, I learned the music of the mountains. From the influences of the Scot-Irish ballads, jigs and lullabys to the Native American chants, I felt the music grow into what we call country music.

The following is from the Birthplace of Country Music website.

Music has been made for hundreds of years in the southern mountain region. The influences which are felt in the music come from many traditions. The ballads of the early Scotch-Irish and settlers of the British Isles are evident, as are their instruments, such as the fiddle. The blues and work songs of laborers of African heritage are evident, along with the instruments such as the banjo. The mountain dulcimer and the autoharp have connections to the zithers of European ancestry, while the ukulele and the guitar were popular parlor instruments. The guitar's folk influences come primarily from the Southwest and Deep South.

In late July 1927, Ralph Sylvester Peer, a record producer and talent scout for the Victor Talking Machine Company of Camden, New Jersey, came to Bristol, Tennessee. His goal was to record musicians from the southern Appalachian region for commercial musical records. For a number of reasons, the world-wide influence of these recording sessions has been described as "the big bang of country music." During these sessions — the Bristol location which was suggested to Peer by pioneer country recording artist Ernest V. Stoneman — Jimmie Rodgers and the original Carter Family were first recorded, as well as Henry Whitter, Blind Alfred Reed, B.F. Shelton and many others over the course of ten days. "The Bristol Sessions," by virtue of the Rodgers and Carter discoveries, the business model initiated by Peer at Bristol wherein artists were paid on a percentage basis for record sales based on song publishing rights, and the national and international distribution of the Bristol recordings by the Victor Talking Machine Company — the largest record company in the world at the time — laid the groundwork for what subsequently became the "country music industry" and disseminated rural music globally for the first time. At the same time, musicologists agree that the recordings made at Bristol in 1927 are the purest cross-section of traditional American music ever recorded in one session — recordings naively made with no attempt to influence the music or the performers delivery in search of a "hit".

From the 1930's through the 1950's, live radio broadcasts in the region nurtured the music and the artists. These shows included WOPI's "Jamboree", "Farm and Fun Time" on WCYB, and the "Barrel of Fun" on WJHL. Flatt and Scruggs, the Stanley Brothers, Jim and Jesse McReynolds, Mac Wiseman, Jimmy Martin and countless others, appeared on these programs, which led to the development of bluegrass and contemporary country music.

African American Roots

"The African-American music of the rural South provided the source for gospel, jazz, and blues, while the oft ignored black contribution to country and hillbilly music went far beyond providing the banjo and Charley Pride. Southern rural musicians drew upon a common well, segregated into blues, country, and folk by recording companies and folklorists only well into the 20th century. Until the explosive emergence of the blues a century ago, blacks played fiddle and banjo for dances throughout the South, entertaining audiences of both races and often playing with European-American musicians." — Art Menius

The plucked banjo string . . .
The field holler . . .
The gospel spiritual . . .

Each of these traditions is an element of what has made country music. Each is rooted in the African American experience, in the southern Appalachian Mountains and through the South. The migration of the music and the influence on the musical traditions are so fundamental that what we know as country music would not be possible without the African American contribution.

The birth of country music, as we know it, can be traced to the recording sessions in Bristol, Tennessee in the summer of 1927. The influences that brought those sessions to life go back much farther. Lesley Riddle of Kingsport, Tennessee was an African American guitar player who directly influenced the Carter Family, known as the "First Family of Country Music." Riddle accompanied A.P. Carter on song collecting trips in the mountains and remembered how the melody would go as Carter would recall the lyrics. Riddle's influence on Maybelle Carter is seen in her distinctive "Carter scratch" style of guitar playing and particularly on the song "The Cannonball," which she learned from Riddle. Also recorded was El Watson, a harmonica player in the style of DeFord Bailey, the first "star" of the Grand Ole Opry. Watson recorded solo and with the Johnson Brothers and was recorded again in the following years. Bailey's "Fox Chase" and train whistle songs set the standard for harmonica players to emulate in the early days of the emerging country music. Bailey made the first recording in Nashville in 1927 and performed on the Opry until 1941. Jimmie Rodgers, known as "The Father of Country Music," learned to play guitar and sing in the railroad yards of Mississippi, influenced by railroad workers, many of whom were African American. Many of the songs of Jimmie Rodgers were blues, from the fields and byways of the South.

Peer returned to Bristol in 1928 to further enhance his "Southern Series" and recorded Stephen Tarter and Harry Gay. The African American duo was known for its performances on piano, fiddle and banjo and played for events, clubs, dances and camps in the southwest Virginia and east Tennessee region. During the turn of the century and the early years of the twentieth century, the black string band tradition was strong, with musicians playing for both black and white audiences. Carl Martin of Big Stone Gap, Virginia and Howard Armstrong of Lafollette, Tennessee, along with Ted Bogan of Knoxville, Tennessee, recorded for Brunswick Co. in 1930. They played the juke joints and coal camps in the 20s, 30s and 40s and eventually developed more of a blues style as they migrated to the north. Steve Goodman, singer/songwriter who performed with Martin in the 70s, considered their group "the greatest string band there ever was. Like so many great musicians, they were pretty much never recognized by the mainstream and their influences remain nothing more than a footnote in music's history." Howard Armstrong, who lives in Boston, Massachusetts, has been the subject of two documentary films and continues to play music.

Brownie McGhee also emerging from the southern mountain music tradition, a contemporary of Lesley Riddle from Kingsport, Tennessee. He learned to play music at an early age after suffering from polio as a child. His style of Piedmont blues music was steeped in the African American folk tradition of the region. His career on guitar included accompaniment by harmonica player Sonny Terry during many years, with the folk revival of the 60s bringing great attention to his music.
The middle years of the twentieth century brought the emergence of bluegrass music, which blended white and black influences on traditional music to create a new genre. Bill Monroe, "The Father of Bluegrass Music," learned to play from the street musician Arnold Shultz in his hometown of Racine, Kentucky. The drive of bluegrass music is attributed to the banjo, which originated in Africa, and was made with an animal skin stretched across a hole in a hollow gourd, featuring a fretless neck and three or four strings. It was called a "banjer" when it came to this country. The four-string tenor banjo was common in Dixieland jazz bands, as well as bands like the Jimmie Rodgers Entertainers. The five-string banjo is produced in both open back and closed back, or resonator, styles. The five string banjo is played in both the old-time "clawhammer" style and the bluegrass style, popularized by Earl Scruggs, who transformed the instrument from one which had been supporting in the string bands into a hard driving lead instrument.

The music of our country combined many elements during its growth, bringing together musicians from a wide variety of styles to create unique sounds. Jimmie Rodgers recorded with Louis Armstrong, the trailblazing jazz innovator, who later performed pieces that were adopted by western swing and bluegrass. Armstrong also recorded a country album. Bob Wills, "The King of Western Swing" fused black and white concepts into his unique music, which blended jazz, blues, Appalachian dance tunes, and Hawaiian-inspired steel guitar with popular and country songs. He particularly idolized Bessie Smith, of Chattanooga, Tennessee, and adapted several of her songs. Bluegrass musicians continue to perform other blues material recorded by Bessie Smith and her contemporaries in the decades since.

A mural depicting these connections and influences in our country's music is in the Sherrod Library at East Tennessee State University in Johnson City, Tennessee. Modeled on original artwork by Willard Gayhart and inspired by musician Jack Tottle, "All in the Family" is a tribute to "America's Bluegrass and Country Music and Their Intimate Family Ties to Blues, Jazz, Folk, Pop, and Hawaiian Music." A soon to be released book entitled, ALL In the Family II: A Mural By Marianne DiNapoli Mylet At East Tennessee State University, by Jack Tottle documents the musicians illustrated in the mural.

"Until recently, black musicians in country and bluegrass music were overlooked, despite being vastly influential; bluegrass father Bill Monroe himself was highly influenced by black string player [Arnold Shultz] who taught him details of his craft. Through simple exposure and lack of research, black music in the south was mainly thought of as blues and gospel, while black fiddlers, banjoists and mandolinists fell through the cracks." — Meredith Ochs, from the liner notes to Altamont: Black Stringband Music from the Library of Congress (Rounder)


Source: http://www.birthplaceofcountrymusic.org/


#3425491 In Memoriam...

Posted by tenn_jim on 16 June 2012 - 10:57 AM

I guess you've already downloaded some songs I was going to post that I recorded at Floydfest last year. This is a weekend festival of music in Floyd VA, one of the key points on the "Crooked Road". Some great bluegrass as well as other genre of music.

I've got recordings of Nat at Floydfest last year and some of him at Pipestem, a park in Beckley WV.

If you get the chance, drop down to SW Virginia and WV and we'll show you some great guitar picking on the porch.





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