[Dixielandjazz] Re: [Dixielandjazzfollwing the drummer for time

[john petters]

Steve said
OK then why can't OKOM bands simply follow the
> drummer for time? Seems very simple to me. Stand close enough to the
> drummer so you can "hear" him/her.
>
Steve, I am in agreement with nearly all you say. Most of the problem comes
from over amplification. I have been in concert situations where I am
playing very, very quiet (yes I can play quietly) brusehes and the bass and
or pianist are not hearing me and go walkabout. This is usually due to the
way things are set up.

I prefer to be in the centre of the rhythm section with bass on one side and
chord instrument on the other. Most bassists & pianists prefer to be
together with the drums at the end of the grand piano. This can and does
cause timing problems, if they are not listening to me. I am their beat and
I want them as close to me as possible. Some players have dodgy time and
will either drag or race. I have played in bands where the banjo and piano
have had 2 different times and the bass and myself are trying to hold it
together.
So follow the drummer. And if his time is irregular you are in trouble

John Petters
Amateur Radio Station G3YPZ
www.traditional-jazz.com
----- Original Message ----- 
From: "Stephen Barbone" <barbonestreet at earthlink.net>
To: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Wednesday, January 28, 2004 8:13 PM
Subject: [Dixielandjazz] Symphony players listening.


> Interesting conjecture that symphony players don't listen, except to the
> one next to you. How can that be? We've spent two days complaining about
> sound bouncing around stages, concert halls, and how distracting it is.
>
> Now, we think symphony players don't listen, they just read their part?
> How do they block out the unwanted sound? Randy, you are a symphony
> player can you enlighten me? Do you hear the total sound?
>
> I suspect one follows the baton for time, all the while hearing the
> total mix in some degree. > Cheers,
> Steve Barbone
>
> PS. The Philadelphia Orchestra under Eugene Ormandy had the
> "Philadelphia" sound. In talking with Glenn Dodson about it, he said
> that was because Ormandy had a "very indistinct beat via the baton". For
> example he said that at the beginning of a number Ormandy held his
> conducting hand close to his chest and then moved it horizontally
> towards the orchestra. This caused everybody to come in a slightly
> different times resulting in that "unique" sound called "Philadelphia".
> He also said it was difficult to figure out where up beats and downbeats
> were.  BTW, Glenn was Principal Trombone of the Orchestra for 28 years,
> and starting there under Ormandy about 38 years ago.
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz