Mickey Baker...found!
unknownguitarplayer
currently writing a book about Little Willie John, the R&B singer.
Willie's story is an amazing one, and the extent of his influence is
astonishing - James Brown, George Benson, Stevie Wonder and many
others cite him as a major influence, and his (original, pre-Peggy
Lee) version of "Fever" has become a classic. Keep an eye out for the
book.
In the process of researching the book, Susan sought out the few
surviving studio musicians who played on Willie's sessions, and one
name that popped up was Mickey Baker. Being a tireless researcher,
she finally found him, and arranged an interview. When she told me
about it, I suggested that she ask him about his guitar books, and
explained how influential they have been (and still are). She did,
and the results were quite surprising.
Mickey is 84 years old and living in Europe. He was shocked to find
out that his book was still in print, and that anyone was still
interested in it. The most amazing thing was that when he took the
original to a publisher in the early 50's, they laughed at the idea of
a jazz guitar book, and told him they'd publish 1000 copies it if HE
PAID THEM!!! He thought it over, and decided that the amount they
wanted was less than it would cost him to publish it himself, so he
took the deal. The publisher thought he was crazy, but not for long,
because the book sold well for many years, and Mickey made out well.
He also said that he was originally a jazz player, but that it was
very difficult to make a living, until he discovered that he could do
quite well playing blues and R&B. He was surprised to hear that
anyone was even interested in jazz anymore ...
Bg
for quite a while.
His book helped me a Lot.
He also had some Radio airplay hits way back when under the name
Mickey and Syliva methinks, in the 60' or so.
Bg
TD
"Mickey and Syliva me thinks".
Correct.
-TD
Carl
It's a blue, later-edition version which I bought in a NY area guitar show
less than 10 years ago. I still have my first copy (black and white-or
yellow- cover), which I bought in the mid-'60's but put more safely away as
a keepsake. It's in very good condition but I wanted to keep it that way so
I bought the later edition.
To be truthful, I tried many times as a kid to work through that book, but
without teaching help the soloing ideas just weren't clear to me. I did,
however, learn most of the jazz chords I know today through his book.
While not clearly written (he provides little explanation for any of his
exercises) it was about the only thing like it available at the time and it
is laid out and organized very well.
Kudos to Mickey.
Carl
drthoma...@gmail.com
Mickey plays himself as a studio producer in Godard's "Masculin &
Feminin".
unknownguitarplayer
Mickey told Susan that he was quite busy as a studio musician before
"Love Is Strange". It sounded like he was one the predecessors of the
Wrecking Crew and the Funk Brothers for a lot of R&B and early rock
and roll coming out of Atlantic and King Records. I found this list
of credits, which ranges from Neil Sedaka, the Coasters, Louis Jordan,
Coleman Hawkins, Ray Charles and Hank Ballard. I doubt that it's
complete, because he talked to Susan about early dates with James
Brown and others that don't appear on the list.
http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:f9fqxqr5ldse~1~T40B
Gerry
I was trying to help out a rock player who new absolutely nothing about
jazz chords, but is a nice guy and eager to learn. I showed him a few
chords he got excited. I recommended, among others, Micky Baker. I
don't know why. I haven't seen my old copy since about 1972. He got it
and I saw him last summer. He showed it to me, and I was surpised how
much good stuff there was in there for a learning player. Much of
which, I should point out, I did not absorb at the time I had the book.
--
Dogmatism kills jazz. Iconoclasm kills rock. Rock dulls scissors.
Maj6th
"TD" <tonyde...@gmail.com> wrote in message
news:8c8144e6-3b03-457d...@11g2000yqr.googlegroups.com...
Correct.
-TD
When I discovered his books, it took me into a different direction. I
devoured his books.
Maj6th
charles robinson
"unknownguitarplayer" <unknowngu...@comcast.net> wrote in message
news:cc9fc31c-3a71-45b9...@x42g2000vba.googlegroups.com...
-----------------------------------------------------------------------------------------------------------
When I started that was the only book we had. Everything that I learned in
the begining came from trying to relate what was in there to Barney Kessel
albums.
Charlie
Joe Montgomery
> > In the process of researching the book, Susan sought out the few
> > surviving studio musicians who played on Willie's sessions, and one
> > name that popped up was Mickey Baker.
One of the last bands I worked with played many many charts from the
Buddy Johnson Big Band. They considered his music the "bridge" between
the Swing Era and R&B and many of the tunes were blues based or rhythm
changes and the solos were always tinged with bop licks...most of the
guitar parts to the tunes we did were done by Mickey Baker and I
endeavored to faithfully cop them note for note...it was years later
that I made the connection back to my black and yellow covered Mickey
Baker book with all those MAJ7 MIN7 chords!
Thanks Mickey Baker!
jm
Tim McNamara
years.
Carl
this is pretty good stuff", but I couldn't figure it out back in the day.
There were no accompanying CDs back then to hear any of it! :-)
Keith Freeman
> very difficult to make a living, until he discovered that he could do
> quite well playing blues and R&B.
I read an interview with him somewhere where he said his style of jazz was
too advanced for the audience. Would have been interesting to hear it ...
-Keith
Clips, Portable Changes, tips etc.: www.keithfreemantrio.nl
e-mail: info AT keithfreemantrio DOT nl
Paul Mitchell Brown
It certainly was a hit but not for the guy who came up with the
instrumental parts and riffs. They were written by the great blues
guitarist, Jody Williams and recorded by singer Billy Stewart as
'Billy's Blues'. Jody played lead guitar on the original along with Bo
Diddley who takes the main riff.
'Billy's Blues':
http://www.youtube.com/watch?v=VDul8aWExTo
'Love Is Strange':
http://www.youtube.com/watch?v=0hq6RcAHhVQ
Williams tried to sue through Chess records for some compensation or
at least a credit but never saw a cent. He quit music completely in
the early sixties for over 30 years but he's out there again and
playing up a storm.
TD
> "TD" <tonydecap...@gmail.com> wrote in message
I think that Jimmy Hendrix copped the raised ninth chord from the
Baker book. What say you? I'll be in Mission Viejo, CA next week if
anyone wants to discuss it (e-mail me).
-TD
The Tortoise
>> He also said that he was originally a jazz player, but that it was
>> very difficult to make a living, until he discovered that he could do
>> quite well playing blues and R&B.
>
> I read an interview with him somewhere where he said his style of
> jazz was too advanced for the audience. Would have been interesting
> to hear it ...
http://www.youtube.com/watch?v=B5HEA06UkBY&feature=related
http://www.youtube.com/watch?v=8dizV8l1pQw&feature=related
Keith Freeman
I still dance like that ;-}
Not much 'advanced jazz' there, though...
unknownguitarplayer
He talked about something similar with Susan, but the time period he
was referring to was the early 50's. It didn't sound like he had
really kept up with developments in jazz since then.
unknownguitarplayer
I learned the "Jimi Hendrix chord" at about the same time I discovered
Mickey's book, and was blown away by both. When "Up From the Skies"
came out a year or 2 later, I thought there was a pretty good chance
that Jimi might have spent some time with Mickey's book.
Paul Mitchell Brown
Either that or Bill Doggett's 'Hold It' where Billy Butler drives that
chord into the ground.
TD
wrote:
>
> - Show quoted text -
Not to mention Junior Walker ridin' shotgun.
-TD
Joe Finn
news:cc9fc31c-3a71-45b9...@x42g2000vba.googlegroups.com...
Thanks for the post. It's good to know Mickey is still around. ...joe
--
Visit me on the web www.JoeFinn.net
Joe Montgomery
>
> Thanks for the post. It's good to know Mickey is still around. ...joe
IIRC, in the Lenny Breau Documentary, Randy Bachman credits Lenny for
giving him the Mickey Baker book, which Randy then futzes with some
chords out of it, which eventually turns into "She's Come Undone."
The Mickey book is like 6 Degrees of Kevin Bacon...well, y'know what I
mean!
jm
OK, then who was Mickey Roker (sp) and did he have a book??? A
drummer? Can't remember, it was the late 60's, man...
TD
Well I am sure that Mickey Rourke will eventually come out with a book
too. Perhaps a working title might be, "How I dissed DeNiro and Died
to Regret It. Scorcese just might use Purple Haze for the opening
subsequent movie credits. One never knows, do one?
-TD
unknownguitarplayer
Didn't they use that chord in the movies that Mickey Rooney made with
Judy Garland?
TD
>
> - Show quoted text -
I think you got that mixed up with annals of Grace Slick.
-TD
Maj6th
Do you think there is think there is a chance that Micky Baker might have
stolen all the material from Jimmy Hendrix.
Maj6th
Gerry
>> I think that Jimmy Hendrix copped the raised ninth chord from the
>> Baker book. What say you? I'll be in Mission Viejo, CA next week if
>> anyone wants to discuss it (e-mail me).
>
> I learned the "Jimi Hendrix chord" at about the same time I discovered
> Mickey's book, and was blown away by both. When "Up From the Skies"
> came out a year or 2 later, I thought there was a pretty good chance
> that Jimi might have spent some time with Mickey's book.
>
> Do you think there is think there is a chance that Micky Baker might
> have stolen all the material from Jimmy Hendrix.
Am I the only one who learned the chord from "Taxman" by the Beatles?
7/4
some people learned it from the Allman Bros!
TD
Well, you know what Brigham Young said...? "I don't care how ya
bringum, just bringum young.
-TD
Paul Mitchell Brown
I just checked 'Hendrix' chord' in Wiki (what isn't there an entry
for?) and it cites both 'Taxman' and Cream's 'I Feel Free' as notable
examples of the 7#9. Hendrix loved both those bands so it would be
easy to conclude that he lifted the shape from either source. On the
other hand, as also noted in the Wiki entry, Hendrix was playing that
chord during his stint with the Isley Brothers in 1964.
Incidentally, there are two shapes for the chord that Hendrix commonly
played. For C7#9, he'd finger it as either x 3 2 3 4 x or 8 10 9 11
11. I don't have Baker's book anymore but I seem to remember that he
doesn't treat either shape as a 7#9, hearing the extension at the
bottom of the voicing - i.e. 8 10 9 11 11 would be F#13b9b5.
Paul Mitchell Brown
wrote:
I meant 8 10 x 9 11 11 or 8 10 8 9 11 11. Correct me if I'm wrong but
wasn't there was also a 3 x 2 3 4 x shape in the Baker book that
Hendrix would have heard as a 7#9 with the fifth in the bass but which
Baker treated as an F#13b9? I suppose the conclusion one could draw
here is that the chord was more likely in its earlier pre-rock
incarnations to be played as an altered V rather than as a I chord.
Paul Mitchell Brown
you're hearing the lowest note in the voicing as the alteration,
there's a higher degree of harmonic instability that more readily begs
for resolution.
TD
wrote:
>
> - Show quoted text -
But was he playing the tune 'Shotgun' ( I believe Jr Walker and the
All Stars) with the Isleys?
-TD
*Anyhow, it's really b10. hahaha, let the sparks fly....
Paul Mitchell Brown
Most likely. Here's Hendrix playing 'Shotgun' on 'Night Train' with
Buddy and Stacey who performed regularly on the same bill as the
Isleys:
Dan Adler
> It seems he's had a rather interesting life, and has been in Europe
> for quite a while.
>
> His book helped me a Lot.
>
> He also had some Radio airplay hits way back when under the name
> Mickey and Syliva methinks, in the 60' or so.
>
> Bg
I loved that book too as a way to learn my first "jazz chords", but
until today I can't figure out what he was thinking with those single
line "runs"...
Gerry
>> But was he playing the tune 'Shotgun' ( I believe Jr Walker and the
>> All Stars) with the Isleys?
>>
>> *Anyhow, it's really b10. hahaha, let the sparks fly....
>
> Most likely. Here's Hendrix playing 'Shotgun' on 'Night Train' with
> Buddy and Stacey who performed regularly on the same bill as the
> Isleys:
>
> http://www.youtube.com/watch?v=C2wBPix-nmg
I was under the impression that Hendrix never recorded with the
Isley's. Not true?
Bg
>
> > -TD
>
> Either that or Bill Doggett's 'Hold It' where Billy Butler drives that
>
> - Show quoted text -
I think I learned that chord from Hold It or Kenny Burrel's Chitlins
Con carne.
Bg
Paul Mitchell Brown
He recorded 'Testify' with the Isleys and kindly lent them his chord
for the day:
Rick Stone
> I learned the "Jimi Hendrix chord" at about the same time I discovered
> Mickey's book, and was blown away by both. When "Up From the Skies"
> came out a year or 2 later, I thought there was a pretty good chance
> that Jimi might have spent some time with Mickey's book.
>
>
> Do you think there is think there is a chance that Micky Baker might
> have stolen all the material from Jimmy Hendrix.
>
> Maj6th
You do realize that the Mickey Baker book came out in 1955 right?
(Mickey was 30 years old, Hendrix was just 13!). Besides, MANY jazz
players were using that chord LONG before Hendrix was born.
--
Rick Stone
website: www.rickstone.com
Some of My Other sites: www.myspace.com/rickstonemusic
www.facebook.com/rickstonemusic www.sonicbids.com/rickstone
www.reverbnation.com/rickstone www.youtube.com/jazzand
www.cdbaby.com/all/jazzand http://jazzguitarny.ning.com
Rick Stone
> When I started that was the only book we had. Everything that I learned in
> the begining came from trying to relate what was in there to Barney Kessel
> albums.
> Charlie
Same here. I started out playing Rock & Blues; Hendrix, Johnny Winter,
Clapton, Page, Chuck Berry, B.B. King, etc. and got bit by the Bebop bug
after hearing Sonny Stitt when I was about 19. There was NOBODY playing
jazz guitar in Parma, OH (my hometown) back then, but I asked another
student at the community college and he told me about the Mickey Baker
book, which I think I found over at Educators Music in Lakewood.
I spent the entire winter break woodshedding that book about 4 hours a
day, and got good enough at jazz chords to audition for the jazz band at
school. That book really gave me my start.
Rick Stone
> OK, then who was Mickey Roker (sp) and did he have a book??? A
> drummer? Can't remember, it was the late 60's, man...
>
http://en.wikipedia.org/wiki/Mickey_Roker
http://www.drummerworld.com/drummers/Mickey_Roker.html
http://www.allaboutjazz.com/php/article.php?id=31034
Paul Mitchell Brown
> < 1KViewDownload
My tongue was firmly implanted into my cheek when referring to it as
'his chord' but I can't think off the top of my head of any examples
from the '30s and '40s where a 7#9 acts as a I chord. Burrell's
'Chitlins' certainly popularised its use in jazz but that didn't come
out until 1963.
jjtko75
wrote:
> > > Do you think there is think there is a chance that Micky Baker might
> > > have stolen all the material from Jimmy Hendrix.
>
> > > Maj6th
>
> > You do realize that the Mickey Baker book came out in 1955 right?
> > (Mickey was 30 years old, Hendrix was just 13!). Besides, MANY jazz
> > players were using that chord LONG before Hendrix was born.
>
> > --
> > Rick Stone
>
> My tongue was firmly implanted into my cheek when referring to it as
> 'his chord' but I can't think off the top of my head of any examples
> from the '30s and '40s where a 7#9 acts as a I chord. Burrell's
> 'Chitlins' certainly popularised its use in jazz but that didn't come
> out until 1963.
Well, not the '30s or '40s, but "Goodbye Pork Pie Hat" came out in
'59. The first chord is Eb7#9. Maybe Jimi's turntable was spinning a
little fast, and he heard it as E.
John
jjtko75
Yikes! I always thought Purple Haze was in E, but I just found a
YouTube video, and they're tuned down to Eb. My turntable was fast
back then.
John
Paul K
Paul Mitchell Brown
Dizzy's 'All The Things You Are' intro is an early instance of the
chord but its function there is once again as a dominant.
Incidentally, some charts notate both the Db and C chords as 7#9 but
Gillespie and Parker play a minor 7th/9th for the opening Db.
TD
wrote:
>
> - Show quoted text -"its function there is once again as a dominant".
Perhaps, that is a plausible reason why b10 ( referred as such because
of the soprano note leading into the 7th of the tonic chord) became #9
in popularity. Although, many arrangers still insist on b10th. The 7#9
became the new I chord that need not function as V. Certain rockers
merely became bored with the "vanillaness" of what was before. You can
bet that it was the antics of the more versatile Jack Bruce who put
the lime in the coconut for I Feel Free. Clapton was the second choice
as guitarist for the group. For the better, commercially as history
documents. The Mickey Baker book was the first hip jazz guitar book, I
would say.
-TD
drthoma...@gmail.com
>
> - Show quoted text -
Who was the first choice for Cream?
Dan Adler
Which would make more sense as an inversion of E->C7 like coming out
of the bridge. Maybe that's where he got the idea.
Paul Mitchell Brown
I can see the reasoning there, Tony although I'd imagine the use of #9/
b10 is even more prevalent in a minor context (like the opening to
ATTYA) where #9 generally resolves via b9 of the V chord to the 5th of
the tonic - an extended version of the Parker 3-b9 cliche. That
particular gravitation pull is clearly stronger in minor keys as the
b9 is the b5 of the half diminished chord that usually precedes the
V.
Paul Mitchell Brown
Paul Mitchell Brown
Not sure I'm with you there, Dan. Are you talking about the
Emaj7>C7#5>Fm7 change? I hear that as a common tone modulation around
G#/Ab. Perhaps you mean that the C#m9 of the intro is a prefigurative
sub for the Emaj7 that closes the bridge?
hw
"Dan Adler" <d...@danadler.com> schrieb im Newsbeitrag
news:f577e7fe-f12d-48ba...@x38g2000vbx.googlegroups.com...
http://www.youtube.com/watch?v=b-qip4uTTAg&feature=related
TD
>
> - Show quoted text -
Mclaughlin, is what I had heard back then.
-TD
hw
"hw" <nos...@home.net> schrieb im Newsbeitrag
news:hpuqgk$98u$00$1...@news.t-online.com...
and here's where dizzy#s other quote comes from:
TD
>
> - Show quoted text -
The actual theory looks at it "in minor" as the b10 ("#9") being the
common tone with the (dom) 7th of the approaching minor tonic
(temporary tonic in ATTYA). 3rd to 7th and 7th to third voicing
movement in mind. Raised ninth (which to me goes into the
'bastardization of definitions bin' and I do not care either way)
would imply D# ( using C7 as criteria), which it clearly is not. It is
Eb. I have no argument, of course, because I too say "sharp nine" just
like I think Pluto is still a planet and Vitamin D is still a vitamin.
-TD
TD
>
> - Show quoted text -
That would also be the second choice. However, in Utah it may have
been Madame Curie.
-TD
Carl
that Vitamin D is not a vitamin. While it's currently considered to be a
hormone, a vitamin is "...any of a group of organic substances essential in
small quantities to normal metabolism", which definition is still satisfied
by Vitamin D.
TD
>
> - Show quoted text -
Funny how you picked that as your argument out of all the music. About
Vitamin D to be or not to be: http://images.formor.com/pdf/thirdparty/Nutritional-Aspects-Vitamin-D.pdf
I just wanna blow, man.
-TD
TD
>
> - Show quoted text -
Additional literature on D: http://www.pressdemocrat.com/article/20081125/LIFESTYLE/811250306
http://www.paleonu.com/panu-weblog/2009/8/9/vitamin-d.html
http://www.betterbones.com/bonenutrition/vitamin-d.aspx
http://www.elephantjournal.com/2009/11/why-vitamin-d-is-good-for-you-via-dr-john-douillards-lifespa/
JoeJazz2000
> Maj6th wrote:
> > I learned the "Jimi Hendrix chord" at about the same time I discovered
> > Mickey's book, and was blown away by both. When "Up From the Skies"
> > came out a year or 2 later, I thought there was a pretty good chance
> > that Jimi might have spent some time with Mickey's book.
>
> > Do you think there is think there is a chance that Micky Baker might
> > have stolen all the material from Jimmy Hendrix.
>
> > Maj6th
>
> You do realize that the Mickey Baker book came out in 1955 right?
> (Mickey was 30 years old, Hendrix was just 13!). Besides, MANY jazz
> players were using that chord LONG before Hendrix was born.
>
> --
> Rick Stone
> website:www.rickstone.com
>
> rickstone.vcf
> < 1KViewDownload
Long after I learned the chord and ways to use it, I found out that
rockers called it the "Hendrix chord." I suupose it's akin to lennon
and McCartney taking a bus across town to learn B7.
Paul Mitchell Brown
I can't see that. Ginger Baker didn't get on with McLaughlin, calling
him a 'whinger' from their time together in Graham Bond's band.
Admittedly, JM was pretty frustrated in those days doing mindless
sessions and hustling to get a decent gig playing progressive jazz.
TD
>
> - Show quoted text -
Research it and maybe that's why Clapton was chosen. JM may have been
Bruce's choice. I did not make it up out of the blue. I forgot the
reasons why, etc.
-TD
TD
>
> - Show quoted text -
In addition, Ginger was known to fight a lot. He is the reason Jack
Bruce, himself was forced to quit Graham Bond's band. Ginger accused
him of overplaying. Jack played with John before Cream and after
Cream. I can see the possibility of JM being first choice, but I
cannot see it musically speaking (that bag) as Cream. When I saw Cream
in, I forgot, maybe 1966 at Cafe Au Go Go here in the Village. I met
all three back stage before the gig. I thought Jack was the best of
the three (as Cream) and the vortex when I heard them play on stage.
Jack had jazz roots and a load of talent.
-TD
Paul Mitchell Brown
I think even Eric would confirm that it was really Jack's band. Eric
had in mind a Buddy Guy style Chicago blues trio whereas Jack said
"Cream was like the Ornette Coleman band, with Eric unknowingly being
Ornette - we just didn't tell him."
JB was and still is a remarkable musician - great writer, classically
trained, plays cello and piano besides bass - but he and Ginger are an
explosive match and they resurrected old animosities when Cream played
the second set of reunion gigs in NY. Pity really as they push EC out
of his safety zone whenever they get together.
Dan Adler
Paul Mitchell Brown
A classic theory vs praxis situation. Of course, what you describe
makes perfect grammatical sense and is still the way we normally
notate the alteration, particularly if it's part of a line rather than
a chord. However, from a guitarist's point of view, most of us think
of it as an alteration to the ninth degree. Maybe that's due to
deviations from the 'central pillar' that sits inside the most common
ninth shape (for C, x32333). Flatten the note on the second string for
b9, raise it for #9. Same deal for the first string to get b5 and #5
(or is that #11 and b6:-) and anyway, isn't Pluto a dog?).
pmfan57
And here are Jack and Ginger with Graham Bond. Ginger is also in a
drum battle scene in this movie that includes the Love Me Do drummer
Andy White.
Paul Mitchell Brown
Nice idea and quite possible. A little teaser, like the chorus
fragment that opens the Beatles' "Can't Buy Me Love". After all, the
Rachmaninoff quote in the intro of ATTYA contains the melody but not
the harmony.
TD
>
> - Show quoted text -
"However, from a guitarist's point of view, most of us think
of it as an alteration to the ninth degree"
And what am I 'chopped liver'? You dawg you!
-TD
Paul Mitchell Brown
That was meant as an all-inclusive, Plutonic 'us'.
tom walls
I thought Jack was the best of
> the three (as Cream) and the vortex when I heard them play on stage.
> Jack had jazz roots and a load of talent.
>
> -TD
Maybe so, but his harp playing was mediocre at best! :-)
Paul Mitchell Brown
OK, so he was no angel ...
pmfan57
Johnny Mac and Dick Heckstall Smith are on Jack Bruce's Things We
Like. Jack plays upright on that one. JM is only on one cut but he
plays cool on it. I think he's using a Fender student model.
TD
>
> - Show quoted text -
All post Cream:
http://www.progarchives.com/album.asp?id=18899
http://drfusion.blogspot.com/2009/05/john-mclaughlin-jack-bruce-billy-cobham.html
http://thepiratebay.org/torrent/3789020/John_McLaughlin_-_Electric_Guitarist
http://cgi.ebay.com/John-McLaughlin-Jack-Bruce-Paris-78/170445074016
pmfan57
>
> http://thepiratebay.org/torrent/3789020/John_McLaughlin_-_Electric_Gu...
>
> http://cgi.ebay.com/John-McLaughlin-Jack-Bruce-Paris-78/170445074016
Cool thanks. I did know about Turn it Over. And JB plays on Are You
the One? from Electric Guitarist. But those others are a
revelation.
I love JB in Cream and think Clapton played his ass off with Cream.
His solos are gems. It ended up being a great combination of
players.
But a trio with JM would have been really interesting. Too bad JM
wasn't in the Gonks Go Beat movie. I guess he had left Graham Bond by
then.
Gerry
As opposed to the brilliant harmonica playing of...?
--
Dogmatism kills jazz. Iconoclasm kills rock. Rock dulls scissors.
tom walls
Little Walter, Sonny Boy Williamson, Carey Bell, James Cotton, Lee
Oskar, Big Walter Horton, Junior Wells, Paul Butterfield, Toots
Thielemans... not to mention Johnny Puleo and His Harmonica Gang seen
here with Uncle Miltie http://www.youtube.com/watch?v=fLbCXeVVMF0&feature=related
pmfan57
So his fourth best thing, after bass, singing and composing, is not as
good as the best. He'll take it. Someone needed to play harmonica in
those groups. I don't think Bruce played harmonica when he was with
Mayall for a while.
Greger Hoel
> Little Walter, Sonny Boy Williamson, Carey Bell, James Cotton, Lee
> Oskar, Big Walter Horton, Junior Wells, Paul Butterfield, Toots
> Thielemans... not to mention Johnny Puleo and His Harmonica Gang seen
> here with Uncle Miltie
> http://www.youtube.com/watch?v=fLbCXeVVMF0&feature=related
Hey, you forgot Sir Mick! :P
--
Always cross a vampire; never moon a werewolf
Greger Hoel
> In addition, Ginger was known to fight a lot. He is the reason Jack
> Bruce, himself was forced to quit Graham Bond's band. Ginger accused
> him of overplaying. Jack played with John before Cream and after
> Cream. I can see the possibility of JM being first choice, but I
> cannot see it musically speaking (that bag) as Cream. When I saw Cream
> in, I forgot, maybe 1966 at Cafe Au Go Go here in the Village. I met
> all three back stage before the gig. I thought Jack was the best of
> the three (as Cream) and the vortex when I heard them play on stage.
> Jack had jazz roots and a load of talent.
I can't really rank them; they were all so, so great. But when I listen to
Crossroads, I listen just as much to Jack's bass playing as I do Eric's
guitar.
Tim McNamara
<60404906-dee7-4179...@11g2000yqr.googlegroups.com>,
TD <tonyde...@gmail.com> wrote:
> All post Cream:
> http://www.progarchives.com/album.asp?id=18899
>
> http://drfusion.blogspot.com/2009/05/john-mclaughlin-jack-bruce-billy-cobham.h
> tml
>
> http://thepiratebay.org/torrent/3789020/John_McLaughlin_-_Electric_Guitarist
>
> http://cgi.ebay.com/John-McLaughlin-Jack-Bruce-Paris-78/170445074016
And a couple more (with Rory Gallagher):
http://www.youtube.com/watch?v=DXk--eL5-kQ
http://www.youtube.com/watch?v=hwmMnayc3Ho
I have read that Rory and his Irish power trio Taste opened for Cream on
one tour in the UK and/or Europe. That'd have been a treat- Rory and
Clapton on the same ticket. Taste were also pretty progressive for the
time (Rory played tenor sax in that band as well as guitar).
tom walls
Hey, Mayall's harp playing sucks, too! :-) But, seriously, I'm
actually quite a fan of Jack Bruce's. I love his album "Harmony Row".
Gerry
>>> Maybe so, but his harp playing was mediocre at best! :-)
>>
>> As opposed to the brilliant harmonica playing of...?
>
> Little Walter, Sonny Boy Williamson, Carey Bell, James Cotton, Lee
> Oskar, Big Walter Horton, Junior Wells, Paul Butterfield,
I was really thinking of rock/pop music. But I admit most of the names
you mention are excellent players. I also consider diatonic and
chromatic harmonica very different instruments.
> ...Toots Thielemans... not to mention Johnny Puleo and His Harmonica Gang seen
> here with Uncle Miltie
> http://www.youtube.com/watch?v=fLbCXeVVMF0&feature=related
7/4
> On Apr 9, 8:29 pm, "Maj6th" <maj...@dslextreme.com> wrote:
>
>
>
> > "TD" <tonydecap...@gmail.com> wrote in message
>
> >news:8c8144e6-3b03-457d...@11g2000yqr.googlegroups.com...
> > On Apr 9, 6:20 pm, Bg <ottg...@hotmail.com> wrote:
>
> > > It seems he's had a rather interesting life, and has been in Europe
> > > for quite a while.
>
> > > His book helped me a Lot.
>
> > > He also had some Radio airplay hits way back when under the name
> > > Mickey and Syliva methinks, in the 60' or so.
>
> > > Bg
>
> > "Mickey and Syliva me thinks".
>
> > Correct.
>
> > -TD
>
> > When I discovered his books, it took me into a different direction. I
> > devoured his books.
>
> > Maj6th
>
> I think that Jimmy Hendrix copped the raised ninth chord from the
> Baker book. What say you? I'll be in Mission Viejo, CA next week if
> anyone wants to discuss it (e-mail me).
David Raleigh Arnold
> On Apr 11, 6:37 pm, Paul Mitchell Brown <paulmitchellbr...@gmail.com>
> wrote:
>> On Apr 12, 12:03 am, Rick Stone <rickst...@rickstone.com> wrote:
>>
>>
>>
>> > > Do you think there is think there is a chance that Micky Baker
>> > > might have stolen all the material from Jimmy Hendrix.
>>
>> > > Maj6th
>>
>> > You do realize that the Mickey Baker book came out in 1955 right?
>> > (Mickey was 30 years old, Hendrix was just 13!). Besides, MANY jazz
>> > players were using that chord LONG before Hendrix was born.
>>
>> > --
>> > Rick Stone
>
>
>> My tongue was firmly implanted into my cheek when referring to it as
>> 'his chord' but I can't think off the top of my head of any examples
>> from the '30s and '40s where a 7#9 acts as a I chord. Burrell's
>> 'Chitlins' certainly popularised its use in jazz but that didn't come
>> out until 1963.
>
> Well, not the '30s or '40s, but "Goodbye Pork Pie Hat" came out in '59.
> The first chord is Eb7#9.
Watermelon Man. Come Together. Regards, daveA
--
For beginners: very easy guitar music, solos, duets, exercises. Early
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