Kurt Rosenwinkel's Pedals
Des Higgins
of Dublin).
It was brilliant etc. I had never seen him before and have a few of
his CDs so I was full of high hopes. The band were stellar and he
played great; it was a gem of a gig. Before he came on stage, I
noticed that there were what looked like about 20 pedals (ok I
exaggerate but it was electrical spaghetti) at the front of the
stage. When he played, he did use one volume pedal a lot but
otherwise, the only time I saw him touch anything was to gingerly
stick his big toe in the middle of the pedals to reach his tuner to
stay in tune between tunes. Maybe I need more pedals.
Des
HP
if you take all his pedals out he will continue to sound beautiful,
because the sound it is much more in his hands not in his pedals.Do
not spend your money on pedals collections.Besides, he is endorser of
leleh pedals and probably gets dozens of pedals for free.We, mere
mortals, we often think that great masters have that because of his
sound equipment, but actually is the musician; the guitar model, the
pedals are simple details.They will play well even with broomsticks,
believe me.many musicians practice without pedals and amplifiers to
improve their sound in his own hands .If you give a cheap guitar and
bad amp for Pat Metheny or Adam Rogers or Ed Bickert they will sound
great like always. Charlie Parker used to play any sax he can get at
pawnshops.
ScotGormley
Kurt's sound is just beautiful. He uses a touch of distortion
(frequently with an old Rat pedal), and he loves those Xotic X-blender
pedals (I've seen him with 3 or more of them) to add effects without
affecting the basic signal. He uses reverb and delay like Bill
Frisell--to add sustain and ambience, more than straight-on echoes.
James Socco
As far as I know he also uses a Line 6 DL-4 delay / looper unit.
JS
Nice Dan from UK
Dan M
and I too was curious about his pedal board configuration.
ScotGormley
>
> - Show quoted text -
Here's some good footage of the spaghetti:
Des Higgins
Yes, that is what it looked like on stage; same boxes arranged roughly
in the same way. I was joking about getting pedals btw; I do realise
his sound comes from him more than any boxes. I was just curious.
Thanks for the info and links.
Bryce
Parker used a plastic sax once I heard. It seems like the acoustic
guitar (archtop) is mutating to a rock guitar. I see this all the time
with the semi-hollows, solid chambered jazz guitars, and straight up
rock guitars (pure electric) used by jazz players. Accessing a range
of effects to enhance the sound is a natural evolution of music with
technology. And if I have to stand up and play I'd want the lightest
thinest guitar that I can find that sounds full of tone like a fat
archtop. Pedals are amazing devices for sustain et al and many players
use them. I draw the line at devices that take over like an octave
pedal. Hey if I am too lazy to play octaves then why am I playing
jazz ? At some point we have to decide if we are jazz players or just
wanna-be rock players IN MY OPINION.
Bryce
Paul K
Jazz isn't about not being lazy, but about expressing yourself in a
certain musical context. Lots of great and influential jazz guitarists
in the last 40 years used effects, so it's part of jazz whether or not
Django/Kessel/Wes/Pass used them.
Nothing wrong with not liking the use of guitar effects, but it doesnt
make it not-jazz or rock.
At some point we have to decide if we are jazz players or just
> wanna-be rock players IN MY OPINION.
>
> Bryce
--
Paul K
http://www.soundclick.com/paulkirk
http://www.youtube.com/user/fibrationboy
http://mypage.iu.edu/~pkirk/
Bryce
Gizmos are fine, I love Kurt's sound with the pedals, but I'd rather
focus on his music. Is a fuzz box for jazz too ? Puma and Wayne both
used wah pedals; sounded weird but that's my opinion. Is there a line
to cross rock vs. jazz ? Opinion seems pretty subjective in its true
nature.
Bryce
sheetsofsound
Matt Garrison and Tony Grey use octave pedals very creatively in a
jazz context and they know how to play octaves. However, you probably
wouldn't think it's jazz.
Bryce
LOL. Yup you're right Jack. I had a really hard time with Kurt's "The
Remedy." I had to listen to it over and over again until I could
appreciate it. Now I love the LP; mind blowing stuff. My brain is too
fried with geezer jazz Right now listening to lots of Joe Pass. I
listened to fusion when the genre started. Saw Coryell, McLaughlin,
Breckers (in the 70s), at very small venues several times. I always
thought THAT was jazz. Nowadays it seems like labels rock/jazz/fusion
don't apply; modern jazz comes in many forms. You guys have opened my
mind up to some cool stuff that I would have otherwise missed out on.
Thanks for the tip on MG and TG. I peruse iTunes and Amazon all the
time looking for new music to get into. I love the syth guitars; wish
I owned one. That's gotta be the ultimate pedal gizmo !
Bryce
sheetsofsound
listen to some of the stuff on Tony Gray's site. He's a bassist but
plays single line solos that sound to me like Joyous Lake era Pat
Martino. Pretty cool stuff. He does use lots of effects but I like it.
Jonathan (Cleve)
> Matt Garrison and Tony Grey use octave pedals very creatively in a
> jazz context and they know how to play octaves.
... and don't forget Jim Hall. I don't think anybody would challenge
his jazz guitar credentials, despite the octave pedal.
Tim McNamara
<815a3aa1-1cbb-4d88...@f15g2000pro.googlegroups.com>,
Bryce <bsuth...@cox.net> wrote:
Parker had his own saxes and when he didn't would borrow them from other
musicians. Some of those would attend the show and then collect their
sax at the end of the set to keep Parker from hocking it for drugs.
> Parker used a plastic sax once I heard.
That was Ornette Coleman.
> It seems like the acoustic guitar (archtop) is mutating to a rock
> guitar.
Huh? Chuck Berry, Duane Eddy, Bill Haley, etc. The first rock and roll
guitarists used a lot of archtops. This ain't a new thing. Steve Howe
was famous with his ES-175.
> I see this all the time with the semi-hollows, solid chambered jazz
> guitars, and straight up rock guitars (pure electric) used by jazz
> players.
This ain't new either with solidbodies being in use by jazz guitarists
for over 50 years- Les Paul, Grant Green, Ed Bickert... in fact the
solid body guitar was largely pushed into existence by a jazz guitarist.
> Accessing a range of effects to enhance the sound is a
> natural evolution of music with technology. And if I have to stand up
> and play I'd want the lightest thinest guitar that I can find that
> sounds full of tone like a fat archtop.
"Full of tone?" What does that even mean?
> Pedals are amazing devices for sustain et al and many players use
> them. I draw the line at devices that take over like an octave pedal.
> Hey if I am too lazy to play octaves then why am I playing jazz ? At
> some point we have to decide if we are jazz players or just wanna-be
> rock players IN MY OPINION.
It's music, man. That's it.
--
"It is not unfrequent to hear men declaim loudly upon liberty, who, if we may
judge by the whole tenor of their actions, mean nothing else by it but their
own liberty ‹ to oppress without control or the restraint of laws all who
are poorer or weaker than themselves." Samuel Adams
Bryce
> In article
> <815a3aa1-1cbb-4d88-a532-11ae4c963...@f15g2000pro.googlegroups.com>,
Tell it the way it is !!!! Ha.... go take a xanax.
Bryce
> On May 1, 7:50 pm, Tim McNamara <tim...@bitstream.net> wrote:
>
>
>
>
>
> > In article
> > <815a3aa1-1cbb-4d88-a532-11ae4c963...@f15g2000pro.googlegroups.com>,
>
>
>
>
>
>
> > > It seems like the acoustic guitar (archtop) is mutating to a rock
> > > guitar.
>
> > Huh? Chuck Berry, Duane Eddy, Bill Haley, etc. The first rock and roll
> > guitarists used a lot of archtops. This ain't a new thing. Steve Howe
> > was famous with his ES-175.
>
> > > I see this all the time with the semi-hollows, solid chambered jazz
> > > guitars, and straight up rock guitars (pure electric) used by jazz
> > > players.
>
> > This ain't new either with solidbodies being in use by jazz guitarists
> > for over 50 years- Les Paul, Grant Green, Ed Bickert... in fact the
> > solid body guitar was largely pushed into existence by a jazz guitarist.
>
> > > Accessing a range of effects to enhance the sound is a
> > > natural evolution of music with technology. And if I have to stand up
> > > and play I'd want the lightest thinest guitar that I can find that
> > > sounds full of tone like a fat archtop.
>
> > "Full of tone?" What does that even mean?
>
> > > P
>
> a solidbody...i myself find it most noticeable at high volumes when
> playing with a drummer...to my ears even a 335 sounds really thin at
> high volumes.. cool at low volumes though. I guess that kinda
> contradicts popular belief. Oh well, that sucks anyway.
>
> edals are amazing devices for sustain et al and many players use
>
>
>
> > > them. I draw the line at devices that take over like an octave p
> > "It is not unfrequent to hear men declaim loudly upon liberty, who, if we may
> > judge by the whole tenor of their actions, mean nothing else by it but their
> > own liberty ‹ to oppress without control or the restraint of laws all who
> > are poorer or weaker than themselves." Samuel Adams
Yes you are correct; it was Parker. Tim is having a hatred attack
because he can't handle those with differing opinions apparently.
Love one another !!!
Bryce
Bryce
Cool !! Thanks for the TG insights Jack I appreciate your advice. I'll
check him out.
Bryce
Tim McNamara
<6c737037-9cff-43ec...@h36g2000pro.googlegroups.com>,
Bryce <bsuth...@cox.net> wrote:
> Tell it the way it is !!!! Ha.... go take a xanax.
No thanks, but after watching tonight's news I think I've have a Paddy's.
Tim McNamara
<ce3d6f0d-c8ce-425d...@i39g2000prd.googlegroups.com>,
cjenkinsjazz <cjenki...@gmail.com> wrote:
> On May 1, 7:50 pm, Tim McNamara <tim...@bitstream.net> wrote:
> > In article
> > <815a3aa1-1cbb-4d88-a532-11ae4c963...@f15g2000pro.googlegroups.com>,
> >
> > Bryce <bsutherl...@cox.net> wrote:
> >
> > > Accessing a range of effects to enhance the sound is a natural
> > > evolution of music with technology. And if I have to stand up and
> > > play I'd want the lightest thinest guitar that I can find that
> > > sounds full of tone like a fat archtop.
> >
> > "Full of tone?" What does that even mean?
>
> I dont think its false to say that an archtop has a bigger sound than
> a solidbody...i myself find it most noticeable at high volumes when
> playing with a drummer...to my ears even a 335 sounds really thin at
> high volumes.. cool at low volumes though. I guess that kinda
> contradicts popular belief. Oh well, that sucks anyway.
Well, there's just so much variation between guitars and guitarists that
it's hard to make valid generalizations. Ed Bickert got a big fat tone
on a Telecaster and I've heard thin screechy archtops. Or listen to
Jack Zucker's clips- many guitars, different amps, different pedals and
yet an identifiable sound despite the differences in equipment.
My archtops (an Ibanez GB-10 and a "Clonedetto" with KA floating PAF)
and sound big and fat, but so does my Tele in a slightly different way.
Lately I have been preferring the Tele. Next week that may change! ;-)
Tim McNamara
<fb24c2a4-7a16-45d2...@i39g2000prd.googlegroups.com>,
Bryce <bsuth...@cox.net> wrote:
> On May 1, 5:21 pm, cjenkinsjazz <cjenkinsj...@gmail.com> wrote:
> > On May 1, 7:50 pm, Tim McNamara <tim...@bitstream.net> wrote:
> >
> > > In article
> > > <815a3aa1-1cbb-4d88-a532-11ae4c963...@f15g2000pro.googlegroups.com
> > > >, Bryce <bsutherl...@cox.net> wrote:
> > >
> > > > > Charlie Parker used to play any sax he can get at pawnshops.
> >
> > > Parker had his own saxes and when he didn't would borrow them
> > > from other musicians. Some of those would attend the show and
> > > then collect their sax at the end of the set to keep Parker from
> > > hocking it for drugs.
> >
> > > > Parker used a plastic sax once I heard.
> >
> > > That was Ornette Coleman.
> >
> > No it was Parker...played a concert with one, killed it
<snip>
> Yes you are correct; it was Parker.
That is news to me, but my historical knowledge of jazz is far from
encyclopedic. Ornette was quite well known for using a plastic sax. In
all the reading I have done so far I have never seen reference to Bird
using a plastic sax, but lots of references to him having to borrow
horns- or rent them from other players- because he'd sold his for drugs.
I must be reading the wrong books. I was able to turn up the following
on Wikipedia, for what it's worth:
"In 1953, Parker performed at Massey Hall in Toronto, Canada, joined by
Gillespie, Mingus, Bud Powell and Max Roach. Unfortunately, the concert
clashed with a televised heavyweight boxing match between Rocky Marciano
and Jersey Joe Walcott and as a result was poorly attended. Thankfully,
Mingus recorded the concert, and the album Jazz at Massey Hall is often
cited[by whom?] as one of the finest recordings of a live jazz
performance, with the saxophonist credited as "Charlie Chan" for
contractual reasons.
"At this concert, he played a plastic Grafton saxophone (serial number
10265);[16][unreliable source?] later, saxophonist Ornette Coleman used
this brand of plastic sax in his early career. There is a story that
says Parker had sold his alto saxophone to buy drugs, and at the last
minute, he, Dizzy Gillespie and other members of Charlie's entourage
went running around Toronto trying to find Parker a saxophone. After
scouring all the downtown pawnshops open at the time, they were only
able to find a Grafton, which Parker proceeded to use at the concert
that night. This account however is totally untrue. Parker in fact owned
two of the Grafton plastic horns. At this point in his career he was
experimenting with new sounds and new materials. Parker himself explains
the purpose of the plastic saxophone in a May 9th of 1953 broadcast from
Birdland and does so again in subsequent May 1953 broadcast."
So, Bird used a plastic sax on at least three occasions. I learned
something new, thanks.
> Tim is having a hatred attack because he can't handle those with
> differing opinions apparently.
Not hardly, man. You'd know without doubt if I was ticked. :-P I am
none too subtle. Don't confuse disagreement with hatred, as is all too
fashionable these days.
> Love one another !!!
Sound advice!
Tim McNamara
<260aa4e2-7059-41fa...@n11g2000yqf.googlegroups.com>,
"Jonathan (Cleve)" <jgi...@gmail.com> wrote:
Or Bill Frisell. That said, I've yet to find a pedal other than reverb
that I like well enough to use for jazz. I used to sometimes use a
chorus and distortion pedal back in my blues days.
--
"It is not unfrequent to hear men declaim loudly upon liberty, who, if we may
judge by the whole tenor of their actions, mean nothing else by it but their
own liberty ő to oppress without control or the restraint of laws all who
Tom Sacold
I dont think its false to say that an archtop has a bigger sound than
a solidbody...i myself find it most noticeable at high volumes when
playing with a drummer...to my ears even a 335 sounds really thin at
high volumes.. cool at low volumes though. I guess that kinda
contradicts popular belief. Oh well, that sucks anyway.
I must have two dozen assorted pedals in various boxes and the only one I
actually use is the looper - and that is just for practice comps.
IMO they are a waste of money for the typical jazz guitarist.
BTW, how often do you play at "loud volumes"? My Fender Deluxe Reverb on 4
is as loud and clean as a trumpet playing triple-forte. I cannot ask for
anything more.
HP
> "Jonathan (Cleve)" <jgib...@gmail.com> wrote:
>
> > On May 1, 6:34 pm, sheetsofsound <jackzuc...@gmail.com> wrote:
>
> > > Matt Garrison and Tony Grey use octave pedals very creatively in a
> > > jazz context and they know how to play octaves.
>
> > ... and don't forget Jim Hall. I don't think anybody would challenge
> > his jazz guitar credentials, despite the octave pedal.
>
> Or Bill Frisell. That said, I've yet to find a pedal other than reverb
> that I like well enough to use for jazz. I used to sometimes use a
> chorus and distortion pedal back in my blues days.
>
> --
> "It is not unfrequent to hear men declaim loudly upon liberty, who, if we may
> judge by the whole tenor of their actions, mean nothing else by it but their
> are poorer or weaker than themselves." Samuel Adams
Great musicians are great no matter the instruments they play , the
pedals etc, etc...With cheap instruments they can play and sound
wonderful.Bad musicians can play the most expensive Benedettos guitars
or the best Selmer saxophones and sound like a nightmare.Of course,
good instruments help the sound of the masters but they are not
important.
Tim McNamara
<1be5ee4c-ef00-4670...@w21g2000yqm.googlegroups.com>,
HP <7cap...@gmail.com> wrote:
> On 2 maio, 01:16, Tim McNamara <tim...@bitstream.net> wrote:
> > In article
> > <260aa4e2-7059-41fa-9bb5-b45617999...@n11g2000yqf.googlegroups.com>,
> > "Jonathan (Cleve)" <jgib...@gmail.com> wrote:
> >
> > > On May 1, 6:34 pm, sheetsofsound <jackzuc...@gmail.com> wrote:
> >
> > > > Matt Garrison and Tony Grey use octave pedals very creatively
> > > > in a jazz context and they know how to play octaves.
> >
> > > ... and don't forget Jim Hall. I don't think anybody would
> > > challenge his jazz guitar credentials, despite the octave pedal.
> >
> > Or Bill Frisell. That said, I've yet to find a pedal other than
> > reverb that I like well enough to use for jazz. I used to
> > sometimes use a chorus and distortion pedal back in my blues days.
>
> Great musicians are great no matter the instruments they play , the
> pedals etc, etc...With cheap instruments they can play and sound
> wonderful.Bad musicians can play the most expensive Benedettos
> guitars or the best Selmer saxophones and sound like a nightmare.
Well *that* explains a lot. :-(
Mondoslug
At some point we have to decide if we are jazz players or just
> wanna-be rock players
Wannabe all three!
Paul Mitchell Brown
Peter King playing Parker's 'Massey Hall' plastic Grafton back in 1994
when it was auctioned at Christies: