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Very Tasteful, Restrained Playing
Originally posted by Sickko View Post
What I respect about three-man groups like the Police is the fact that they are able to get a really solid sound with just guitar, bass and drums (no keyboards or horn section).
As a diehard reggae fan, I particularly enjoyed the reggae sections in “So Lonely.” This recording is almost like an audio instructional manual on the economical use of a rhythm section. Sting’s bass pattern is very sparing in that he does not play a lot of notes, except in the rock segments of this song. In his reggae bass line he focuses primarily on the root and fifth notes in a very tasteful way. Stewart Copeland’s rather restrained drumming complements Sting’s tasteful, economical selection of notes.
You see, Sickko, one very important lesson I learned as a teen studying music is that the rests are equally as important as the actual notes played. Silence is a vital part of music, and this becomes clear when we compare the reggae and rock segments of “So Lonely.” Of course, reggae bass players have long realized this. The great (and under-recognized) Jamaican reggae bassist Leroy Sibbles demonstrated time and time again the importance of this relationship between notes and rests. His outstanding work on the Heptones’ “Book of Rules” is a clear demonstration of this important connection between what is played and what is not played. Other reggae classics like “Satta Massagana” (both the Abyssinians original version and Third World’s remake) are good reference points for the tasteful employment of rests when playing bass lines.
But back to the music video you have posted. The Police’s Gordon Sumner provides a colorful tapestry to the sparse drum-and-bass rhythm with his echo-effect rhythm and lead guitar playing. No consistent “chaka-chaka” rifts from him; rather, he gives us just a hint of traditional reggae rhythm in his creative rifts.
This recording is a perfect example of the fact that one does not have to be “busy” and all over the place to achieve a good, solid result.
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Thanks, Boss
Originally posted by Sickko View PostThanks for the lesson boss..well appreciated, as Miss Lou would say "clap him, clap him"
Not many Jamaicans enjoy classics such as U2’s “Joshua Tree” or the work of Sting and his group.
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First time I heard U2, I was in Morristown, NJ in about 1988 or there abouts when Joshua Tree was just released and I recalled hearing the live version of 'Still havent found what I am looking for' and trust me I was moved.
When I got back to Boston, I got a copy of the tape and played it till it was tight. Since then i have bought just about everything they have done.
The other day I dug up some Buena Vista, some Gypsy Kings, some Myles and some Charlie Parker on Face Book and the place was rocking, chuss meSolidarity is not a matter of well wishing, but is sharing the very same fate whether in victory or in death.
Che Guevara.
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High standard of recording is important too..
For example Winston McAnuff's ******** Child or burning Spear's I&I Survive.
Dem yuh have everything from Steely Dan which are all impeccable and certain versions of Hotel California.
Still, go check out Walking on the Moon by the Yuri Honing Trio, Keith dont Go by Nils Lofgren, Jazz Variants by the Ozone Percussion Group, Nuages by James Carter and the 10 minute version of Stimela by Hugh Masekela. Some of them even sweeter in HiRez or SACD.
For female (soul) vocals check out Bettye LaVette -Interpretations, the British Rock Songbook.
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Thanks, Willi
Willi, I don’t mind the lecture, especially when it includes creative musicians whose work I am unfamiliar with.
While I’m certainly familiar with the work of modern jazz saxophonist James Carter and, albeit to a much lesser degree, Bruce Springsteen’s guitarist Nils Lofgren (I have never paid a great deal of attention to his work), I have never heard of the Ozone Percussion Group, or the Yuri Honing Trio, or Bettye LaVette.
Thanks for introducing me to these people. As long as it’s creative music (preferably the non-commercial type) I will be very interested.
By the way, Burning Spear had one of the most outstanding lead guitarists I have ever heard in our local music (I cannot remember his name at this minute, but I met him briefly in the late 1970s. He was completely dedicated to learning his instrument, and I recall that he often used to practice for the entire day).
Willi, one reason why I get so angry about the state of Jamaican music today is that I have met quite a number of genuinely world-class musicians on our little rock, but thanks to a retarded print and broadcast media (particularly radio) the nation and the world do not know about these very talented individuals.
Maybe one day the poster Me will finally understand why I make what he calls “Historian’s rants”!
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Historian, are you familiar with Joan Armatrading's work?
A friend had given me a cassette with some of her music in the 1980s but no idea what happened to it.
Was in London a few years ago and came across a CD but the one song I really liked was not on it, cant recall the name of the song but one line went "I'm not in love but I am open to persuasion"Solidarity is not a matter of well wishing, but is sharing the very same fate whether in victory or in death.
Che Guevara.
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Solidarity is not a matter of well wishing, but is sharing the very same fate whether in victory or in death.
Che Guevara.
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Here's another great one...with Andy Summers to boot
http://www.youtube.com/watch?v=4t2LB...eature=relatedSolidarity is not a matter of well wishing, but is sharing the very same fate whether in victory or in death.
Che Guevara.
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Nils guitar work a mez people!
Jazz Variants from Ozone is a WICKED cut. Listen that on a well tuned system and buckle up to enjoy the ride!
Listen here online:
http://manger-audio.com/manger_cd/manger_cd.html
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Yes man I found it plus a few others, the threaded view giving you problems too, cant follow...or is it the Christmas pudding and sorrell having an effectSolidarity is not a matter of well wishing, but is sharing the very same fate whether in victory or in death.
Che Guevara.
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