Won't you tell everybody you meet

[Tennessee Jedi]

@ 5.49
The album version
I see what you guys did w/ your arrangement - kinda have the intro riff as the outro riff , too - very cool , too.
- Tom

[Rusty the Scoob]

I will admit, however, that in an effort to get this band "gig ready" we learned 40 tunes very quickly. Now we are revisiting them to look for improvements to our hasty arrangements. So, this is great feedback!

To this hack guitarist you guys sound like seasoned pros !
I do think the part in question is a great way to release musical tension/ add resolution to some other-wise static chord changes. Good luck Murph and crew

Agreed, it's one of my favorite parts too. It's just this nice little extra piece that takes up a half measure, turning the last chorus around so it starts two beats later than you expect. Just a nice little detail, but I totally understand how it is to throw a lot of tunes together all at once! Sometimes you have to gloss over the little things just to get the job done, I've been doing the same thing with Phish tunes lately to help out a band in a crisis. I'd love to spend the time getting them 100% learned but I just can't fit it in.


I used to think like you, Ricky... I never liked the nitpicky nuts & bolts aspect of music much, I just liked jamming. I still prefer jams and I hate most of the "hit a bomb here" parts. (Later Bertha comes to mind, they sucked all the life right out of it when they added those stupid pre-determined hits under Jerry's solo IMHO.) But over the years I've come to appreciate the value of learning things the "correct" way. The trick is to learn the "correct" way well enough that you don't have to think about it on stage. Then you have the freedom to cover the parts or deviate when you choose, and real self-expression can happen.

Charlie Parker had the best quotes on the topic:

You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.

This quote has occurred with in many different phrasings, including: "Learn the changes, then forget them."

[Murphy52]

Got it. Yeah, that is cool.

Thanks!

[Pete B.]

I like that little change between the ending choruses, too.
If you're planning on playing for dead-heads, that is a simple "compositional" brush up fo you guys. You can still end it with the Intro if you want.
I'm not sure of the need for three acoustics. I think I see an electric bass in the backgound... do any of you guys play mando or banjo or pedal steel or some other "color" instrument?
Pete B.

[Murphy52]

yeah, the bass and cajon make appearances on various songs, but our typical schtick is three fold:

1. We all play acoustic guitar. Throughout most songs we trade who is playing the role of bass, rythym, and lead. Its fun to keep your ears open wide and figure out which role you would best fit into after someone else shifts away from playing lead.

2. We like to play quiet enough so people can enjoy the music and still talk to their friends at a normal volume. I was in a bar a while back and I was really enjoying what was on the stereo and I was having a great conversation with a friend. Then the band came on. I lasted two songs before I had to leave and I thought, "Why does the band have to be so much louder than the stereo?" (The answer is often because the drummer can't play quietly, I get it ) I can understand hanging on every note for an amazing band; I don't mind loud in that case, but we are playing mostly cover tunes and we're not under the delusion that people come to experience greatness

3. We want to build a community of people who enjoy similar music and hanging out with one another. We want the audience to socialize and associate our gigs with good people and great conversation

So, I guess what I am saying is... what was I saying? Oh, I like that we play 3 guitars!


What do you call a guy that hangs out with musicians all day?
...
a drummer

I jest. I am totally jealous of drummers.

Murphy

[ugly rumor]

Another part of musicianship is "playing to the room". A lot of people never get that part. Drummers have complete control over their volume.

If I can turn you on to a great drummer...listen to Roy Haynes. Blows me away.

[Rusty the Scoob]

Another part of musicianship is "playing to the room". A lot of people never get that part. Drummers have complete control over their volume.

If I can turn you on to a great drummer...listen to Roy Haynes. Blows me away.

Boom! Saw him live once with Chick Corea and friends (Chick, Roy Hanes, Christian McBride, Kenny Garrett, and I always forget the trumpet player's name... famous NOLA jazz guy) in a nice auditorium with great seats. What was normally a 2 hour road trip took about 4 due to a real Minnesota blizzard, but it was so worth it.

Roy was in his 70's and simply amazing, so effortlessly complex, so much energy but so much control. Best drummer I have ever seen live, hands down.

[ugly rumor]

When I saw him, it was with John Pattitucci on bass (which was why I went), David Kerkorian on piano, and Nicholas Payton played trumpet. I was mesmerized by Roy Haynes.

[Rusty the Scoob]

Nicholas Payton! That's who I was trying to remember, thanks!

Yes... I was completely mesmerized by Roy as well. So amazing.