Bop and junk. How'd they do that?
Rick Del Savio
how did the bop players who were on junk manage to play so fast? I'm
talking drugs here so, wouldn't speed be a 'better' choice, as it were?
Any psycho-neurologists willing to offer their opinions? Thanks, Rick
audio clips, free lessons here; http://www.rickdelsavio.com/sounds.html
--
Jazz Guitarist/Educator
Check out lessons and original music @
http://www.rickdelsavio.com
Gerry
<rain...@optonline.net> wrote:
> Hi. As a player with the 'blinding' speed of a Jim Hall, I often wonder
> how did the bop players who were on junk manage to play so fast? I'm
> talking drugs here so, wouldn't speed be a 'better' choice, as it were?
> Any psycho-neurologists willing to offer their opinions? Thanks, Rick
I don't know. But one of the things mandatory to speed of performance
is minimum motion for maximum effect, so unnecessary tension and
relaxation is critical.
--
Invest wisely: Over the past 75 years, stocks have averaged annual gains of 2.3
percent under GOP administrations, compared with 9.5 under Democratic ones.
-- Jerry Heaster
thom_j
> Hi. As a player with the 'blinding' speed of a Jim Hall, I often wonder
> how did the bop players who were on junk manage to play so fast? I'm
> talking drugs here so, wouldn't speed be a 'better' choice, as it were?
> Any psycho-neurologists willing to offer their opinions? Thanks, Rick
Why? Are ya' thinkin' of tryin' some? 8^)'.. i am curious tee'...
Steve
"Gerry" <add...@domain.com> wrote:
...one of the things mandatory to speed of performance
> is minimum motion for maximum effect, so unnecessary tension and
> relaxation is critical.
I think those guys were already maestros on their instruments. The creative
idea thing happening at lightning speed may be due to concentration and
focus.
It never worked for me, and I've got the tape to prove it.
-SteveYetter-
Tone
Steve wrote:
> "Gerry" <add...@domain.com> wrote:
>
> ...one of the things mandatory to speed of performance
> > is minimum motion for maximum effect, so unnecessary tension and
> > relaxation is critical.
>
>
> I think those guys were already maestros on their instruments. The
creative
> idea thing happening at lightning speed may be due to concentration
and
> focus.
Or maybe a complete lack of inhibition due to "concious" thought.
Instead of it being an impediment, maybe bop is heroin music - it may
never have come about without the midwife of junk to help ease it into
the world. Seems like a lot players of the period thought so, and they
were there. Although in hindsight a lot of them definiteley thought it
was a drag.
> It never worked for me, and I've got the tape to prove it.
LOL.
> -SteveYetter-
Greger Hoel
<rain...@optonline.net> wrote:
>Hi. As a player with the 'blinding' speed of a Jim Hall, I often wonder
>how did the bop players who were on junk manage to play so fast? I'm
>talking drugs here so, wouldn't speed be a 'better' choice, as it were?
>Any psycho-neurologists willing to offer their opinions? Thanks, Rick
I'm gonna go out on a limb here and suggest that these guys did their
and many other people's shares of amphetamines and alcohol too.
Actually, when considering the frantic pace of so many bebop tunes and
the twitchy demeanor of a speedloader, it ain't hard to see a
connection between meth and bebop. Speaking of twitchiness, ever seen
an addict of whatever when the craving sets in? A junkie with a bad
craving is prolly not fit to play anything at all very well, but
imagine the same guy with some drinks inside. Loose of inhibitions and
muscle spasms, but with the much aforementioned jones throbbing
relentlessly in their heads. Maybe putting all their attention on the
music help subdue that brutal urge for a while?
--
_______________________________________________
Always cross a vampire, never moon a werewolf
To reach me, swap spammers get bent with softhome
----------------------------------------------------------------------------------------------
Jack A. Zucker
Drugs didn't have anything to do with those guys playing fast. Dizzy didn't
do that shit and he was just as fast.
Bird was on heroin which has the opposite effect.
Brecker's one of the fastest players in history and he's straight as an
arrow.
It's called practicing and playing.
--
Experience a revolutionary way to approach the instrument.
Introducing Sheets of Sound for Guitar
"Let the music govern the way you play guitar instead of the guitar
governing the way you play music!"
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"Greger Hoel" <gre...@spammersgetbent.net> wrote in message
news:g4u9k0djbuuigdcms...@4ax.com...
Greger Hoel
<j...@jackzucker.com> wrote:
>No.
>
>Drugs didn't have anything to do with those guys playing fast. Dizzy didn't
>do that shit and he was just as fast.
>
>Bird was on heroin which has the opposite effect.
>
>Brecker's one of the fastest players in history and he's straight as an
>arrow.
>
>It's called practicing and playing.
I didn't mean to say that bebop was born outta substance abuse. I just
tried to offer an explanation how they *could* play so fast while
living the junkie lifestyle. It goes without saying that you can play
just as fast when you're clean.
Greg M. Silverman
>
>
> Or maybe a complete lack of inhibition due to "concious" thought.
>
> Instead of it being an impediment, maybe bop is heroin music - it may
> never have come about without the midwife of junk to help ease it into
> the world. Seems like a lot players of the period thought so, and they
> were there. Although in hindsight a lot of them definiteley thought it
> was a drag.
That's absurd. Dizzy didn't do smack till much, much later and was a
huge innovator -- when he was completely straight, mind you (or, so he
said ;-)
Plus, I've read that in restrospect, a lot of musicians who did smack
and kicked the habit, thought that their playing was horse shit while on it.
gms--
Joe Finn
"Rick Del Savio" <rain...@optonline.net> wrote in message
news:414487E6...@optonline.net...
> Hi. As a player with the 'blinding' speed of a Jim Hall, I often wonder
> how did the bop players who were on junk manage to play so fast? I'm
> talking drugs here so, wouldn't speed be a 'better' choice, as it were?
There have been lots of musicians with self destructive tendencies who, for
a while at least, managed to keep it together and play at the elite level.
These guys ultimately face a moment of truth and must choose between life;
[music] and death [continued drugging].
Many have recovered and continued to live their lives and perform, but a
great many prominent players have died before their time too.
There are no known performance enhancing drugs when it comes to music.
......joe
--
Visit me on the web www.joefinn.net
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Mark Cally
playing he ever did was when he was high. That being spun out on dope
allowed him to go to places he couldn't otherwise go. This view,
unfortunately, was believed by many people and led to many ruined
lives. One was a friends of mine who was a brilliant guitarist that
overdosed on heroin.
Mark Cally
www.soundclick.com/markcally
Gerry
Cally <mile...@peoplepc.com> wrote:
> I remember Lee Kontiz at a clinic once saying that some of the best
> playing he ever did was when he was high. That being spun out on dope
> allowed him to go to places he couldn't otherwise go. This view,
> unfortunately, was believed by many people and led to many ruined
> lives. One was a friends of mine who was a brilliant guitarist that
> overdosed on heroin.
I heard Stan Getz say that on more than one occasion and it just make
my blood boil at the absolute stupidity of saying it to impressionable
kids--whether it was true or not. He specifically that after a number
of years (and a prison term or two I might add) he could get to the
"same place" without the dope. As if that was the final summit, playing
loaded without the liability of dope. Sheesh!
Relative to Dizzy being on junk--I was under the impression that Diz
NEVER did that stuff, though a number of his peers and band-mates were.
Isn't this so?
Tone
Greg M. Silverman wrote:
> Tone wrote:
>
>
> >
> >
> > Or maybe a complete lack of inhibition due to "concious" thought.
> >
> > Instead of it being an impediment, maybe bop is heroin music - it
may
> > never have come about without the midwife of junk to help ease it
into
> > the world. Seems like a lot players of the period thought so, and
they
> > were there. Although in hindsight a lot of them definiteley thought
it
> > was a drag.
>
> That's absurd. Dizzy didn't do smack till much, much later and was a
> huge innovator -- when he was completely straight, mind you (or, so
he
> said ;-)
Well, that's one man. Out of many "huge inovators" like Bird and Fats
Navaro, and on and on who were junkies... and as for completely
straight I seriously doubt it even for him. Not a drink, not a bit of
herb?
Even if he was a tee-totaller does citing Dizzy as a counter example
really make the idea "absurd"? Or does it just rub you the wrong way,
and sound bad in front of impressionable youngsters?
I'm not claiming my little hypothesis is definitely true but I'd like
to hear a lot more examples of tee totaling fathers of bop before I
discard the possibility. If you need more examples of bop inovators who
were junkies I don't think it'd be hard too come up with.
>
> Plus, I've read that in restrospect, a lot of musicians who did smack
> and kicked the habit, thought that their playing was horse shit while
on it.
>
Yeah, I mentioned that too. But no matter how they saw it in
*retrospect*, the fact remains that at the time it was being created a
lot of bop's creators were junkies. And at least some jazz musicians,
as noted elsewhere in the thread, thought they played their best high.
Greg clayton
discuss the bop and hard bop era's without the discussion of Dope[Heroin]
and to say the junkmind/body state had no effect on the music is to be
disingenuous. [or uninformed] This is not to endorse drugs but Heroin was
a "huge" factor in that loping,front wheel going backwards feel that
imparted by almost every Rythm section in those days.
Also, through the ages artists have used various substances in
attempting to get into "the Zone"
greg
--
....................................................................
visit www.GregClayton.com the website of Jazz Guitarist Greg Clayton
"Gerry" <add...@domain.com> wrote in message
news:120920042049213698%add...@domain.com...
Gerry
<gregc...@videotron.ca> wrote:
> At the risk of being politicaly incorrect I think it's impossible to
> discuss the bop and hard bop era's without the discussion of
> Dope[Heroin] and to say the junkmind/body state had no effect on the
> music is to be disingenuous. [or uninformed]
When we add heroin addiction, or as you seem to imply the *effect* of
heroin on users, I think we can all agree it had an effect on all of
them. We just can't conclude what that effect was in any
all-encompassing way.
> This is not to endorse drugs but Heroin was a "huge" factor in that
> loping,front wheel going backwards feel that imparted by almost every
> Rythm section in those days.
I can't imagine what you're talking about.
> Also, through the ages artists have used various substances
> in attempting to get into "the Zone"
Certainly. Different artists in various fields effected different
zones with different drugs. I assume none where the same.
One way musicians can make use of such drugs to their benefit is to
shut up their internal critic, to put far away a life of domestic
abuse, otherwise paralyzing fear regarding their home life, paying
bills, pending legal difficulties, etc. That's not to say these
"benefits" aren't vastly outweighed by the potential misery of
addiction, imprisonment, loss of family, and the inability to play your
instrument.
We know of many famous junkies. All the hundreds or thousands of
working players that died from drugs, or spent a life in prison aren't
cited with the same repetion.
Don Judy
"Joe Finn" <J...@JoeFinn.net> wrote in message
news:41450...@corp.newsgroups.com...
>
> "Rick Del Savio" <rain...@optonline.net> wrote in message
> news:414487E6...@optonline.net...
> > Hi. As a player with the 'blinding' speed of a Jim Hall, I often wonder
> > how did the bop players who were on junk manage to play so fast? I'm
> > talking drugs here so, wouldn't speed be a 'better' choice, as it were?
>
> There have been lots of musicians with self destructive tendencies who,
for
> a while at least, managed to keep it together and play at the elite level.
> These guys ultimately face a moment of truth and must choose between life;
> [music] and death [continued drugging].
>
> Many have recovered and continued to live their lives and perform, but a
> great many prominent players have died before their time too.
>
> There are no known performance enhancing drugs when it comes to music.
Often people confuse the use of drugs, the actual effects of drugs, the
possibility of chronic use and addiction and the social implications of
using them with each other. We've been taught to not actually think about
the implications of drugs use, just the possibilities or rather
repercussions.s\ Drug use can change one's approach to any situation. New
thought patterns used in an old or previously familiar situation can create
new approaches. One of the things heroin does initially is to cause new
associations between old familiar constructs and takes certain elements of
thought and places them in a visually recognizable pattern. I've always
thought Bird's and bebop in general's relatively new and advanced approach
to chords initially came out of this very effect of heroin. This doesn't
mean that there are not ill effects from the drug, doesn't mean I advocate
taking it, although heroin doesn't lead to death and destruction so much as
its illegality and social proscription do, but does mean that drugs can
possibly influence music in a positive way. As far as your blanket statement
concerning "no known performance enhancing drugs" when it comes to music,
the group of drugs that includes prozac has been recognized as doing that
very thing and is taken by some classical performers and no doubt others for
this very reason. As usual my observations are at odds with the oddly
claustrophobic and concurrently intelligent mindset of this newsgroup and
jazz players in general, at least in public. I've had interesting
discussions off the record with several tremendous players about this very
subject. People are basically afraid to talk for fear of being branded as
"druggies". Broad brushstrokes do not work with discussing drugs and their
effects any better than any other subject.
Don Judy
\
Joe Finn
"Don Judy" <dnhj...@comcast.net> wrote
> One of the things heroin does initially is to cause new
> associations between old familiar constructs and takes certain elements of
> thought and places them in a visually recognizable pattern. I've always
> thought Bird's and bebop in general's relatively new and advanced approach
> to chords initially came out of this very effect of heroin.
Dizzy had as much to do with the development of bop as anybody else and he
was as clean as a whistle. .......joe
--
Visit me on the web www.joefinn.net
Don Judy
"Joe Finn" <J...@JoeFinn.net> wrote in message
>
>
>
> "Don Judy" <dnhj...@comcast.net> wrote
>
> > One of the things heroin does initially is to cause new
> > associations between old familiar constructs and takes certain elements
of
> > thought and places them in a visually recognizable pattern. I've always
> > thought Bird's and bebop in general's relatively new and advanced
approach
> > to chords initially came out of this very effect of heroin.
>
> Dizzy had as much to do with the development of bop as anybody else and he
> was as clean as a whistle. .......joe
> --
Yep. I agree, Diz was the man who quantified, analyzed and intellectualized
bop. He could hear what bird was doing and explain it, something bird
himself couldn't do at first. Diz was at the forefront of understanding the
new expansion of the harmonic vocabulary, and was keenly interested in the
rhythmic aspects and their antecedents in other parts of the world as well.
A truly uncommon and great man. I'm not so sure he was always clean as a
whistle, but his legacy is certainly not about using drugs. Bird was the
bird, a rhapsodious evocation of life and music we may never see again.
And concerning another early great non bopper... Louis Armstrong was stoned
on pot about every day of his life, which he proclaimed on more than one
occasion. He had an idea to turn on the Queen of England!
And about the prozac... you could look it up.
Don Judy
Don Judy
Addiction imprisons one due to legal problems. If it's available, heroin
causes no physical debilitation. It's all the accompanying problems, the
social stigma, the lack of nutrition from leading an outlaw life, the
attempting to procure the "fix" without the money that hurt. That said, we
do live in the real world, and I hate prison and it certainly has no place
in an artists life, the same as "scoring a bag" in a back alley or rough
section of town or even in a mansion or at Johns Hopkins should have no
place in an artists life. It's easy to become a junky, hard to quit. That's
the truth that's scary and should be pushed. Konitz told the truth. Nothing
irresponsible about that, he was surely speaking within the context of
everyone there knowing there was more to heroin than the "upside". We
shouldn't assume he was irresponsible in saying that.
Don Judy
Tone
Joe Finn wrote:
> "Don Judy" <dnhj...@comcast.net> wrote
>
> > One of the things heroin does initially is to cause new
> > associations between old familiar constructs and takes certain
elements of
> > thought and places them in a visually recognizable pattern. I've
always
> > thought Bird's and bebop in general's relatively new and advanced
approach
> > to chords initially came out of this very effect of heroin.
>
> Dizzy had as much to do with the development of bop as anybody else
and he
> was as clean as a whistle. .......joe
Hmmm. Just for grins lets say there were 16 truely seminal bop
inovators. And "Dizzy had as much to do with the development of bop" as
the other 15. In other words in this case 1/16 of bop is clearly due to
Dizzy Gillespie. Of the other 15 how many were non dopers? Maybe 5? 10?
So whatever the actual number, all the way down to 2 - Gillespie and
Parker, with 1/2 of bop originating from either of them - you end up
with a large fraction of seminal bop being developed/played by heroin
users. Probably a majority of it.
And somehow the idea that all that herion flowing through all those
bloodstreams had no effect on the development of the music, seems a
little far fetched, at least to me. Did they come up with all these
radically far out "chinese music" ideas (in Louis Armstrongs opinion as
well as lots of other jazz inovators who had created the music up till
then) straight as an arrow?
It's not that bop couldn't have been invented without heroin, as in the
case of Dizzy, only that it actually _was_ invented with lots of herion
in use by the inventors. Coincidence? Maybe.
Anyhow I have a hard time accepting that this really seems far fetched
to anyone who gives it any thought. I think its just uncomfortable to
even think about it.
And of course its OT since the point of the thread was how is it
possible to play fast on heroin... to which I don't know the medical
answer but LOTS of guys did it.
Greg clayton
I guess not !
--
....................................................................
visit www.GregClayton.com the website of Jazz Guitarist Greg Clayton
"Gerry" <add...@domain.com> wrote in message
news:130920040055309539%add...@domain.com...
Paul Sanwald
know, it doesn't affect your coordination in the slightest.
--paul
David J. Littleboy
"Tone" <a.ko...@computer.org> wrote:
>
> So whatever the actual number, all the way down to 2 - Gillespie and
> Parker, with 1/2 of bop originating from either of them - you end up
> with a large fraction of seminal bop being developed/played by heroin
> users. Probably a majority of it.
>
> And somehow the idea that all that herion flowing through all those
> bloodstreams had no effect on the development of the music, seems a
> little far fetched, at least to me. Did they come up with all these
> radically far out "chinese music" ideas (in Louis Armstrongs opinion as
> well as lots of other jazz inovators who had created the music up till
> then) straight as an arrow?
You are missing an alternative theory: they developed bop _in spite of_ the
drugs, and that there would have been a lot more great music made had
recording sessions not been botched, ideas not been forgotten, practicing
not been neglected.
> It's not that bop couldn't have been invented without heroin, as in the
> case of Dizzy, only that it actually _was_ invented with lots of herion
> in use by the inventors. Coincidence? Maybe.
>
> Anyhow I have a hard time accepting that this really seems far fetched
> to anyone who gives it any thought. I think its just uncomfortable to
> even think about it.
Well, it seems pattently ridiculous. People are largely non-functional on
drugs. Drugs make you feel good, but mess up your performance, memory,
speech, thought.
> And of course its OT since the point of the thread was how is it
> possible to play fast on heroin... to which I don't know the medical
> answer but LOTS of guys did it.
I doubt it: from everything I've read, they played fast when they were
straight, and messed up when they were messed up.
David J. Littleboy
Tokyo, Japan
Rick Del Savio
guys were on the nod, standing up. They didn't appear co-ordinated to
me. Especially when they attempted to speak. Just my experience. RDS
--
Keith Freeman
> causes no physical debilitation. It's all the accompanying problems,
the
> social stigma, the lack of nutrition from leading an outlaw life, the
> attempting to procure the "fix" without the money that hurt.
overstated), but doesn't the dosage have to increase for the addict to
keep on an even keel? In her book High Times Hard Times Anita O'Day
mentions that at the end of her life Billie Holiday was shooting up tuna-
cans-full of the stuff, not just teaspoons-full.
-Keith
Music samples, tips, Portable Changes at
http://home.wanadoo.nl/keith.freeman/
E-mail: keith DOT freeman AT wanadoo DOT nl
thom_j
> this very reason. As usual my observations are at odds with the oddly
> claustrophobic and concurrently intelligent mindset of this newsgroup and
> jazz players in general, at least in public. I've had interesting
> discussions off the record with several tremendous players about this very
> subject. People are basically afraid to talk for fear of being branded as
> "druggies". Broad brushstrokes do not work with discussing drugs and
> their
> effects any better than any other subject.
>
> Don Judy
>
times) but this is indeed such a "deep or complexed" subject that trying
to "tackle" this on any newsgroup with our "abridged version of" this or
any subject that is this complexed becomes 'watered down'. if you will.
I'd just love to discuss & even debate a'bit but again its extremely hard
here.. Still, it is a very good post Don! cheers thom_j.
Mike O'Malley
> Hi. As a player with the 'blinding' speed of a Jim Hall, I often wonder
> how did the bop players who were on junk manage to play so fast? I'm
> talking drugs here so, wouldn't speed be a 'better' choice, as it were?
>
Well first of all I don't think they always did play better. By all
accounts, Bird had a lot of really bad nights. Most of what we know is
his recorded output, when he was usually straightened up for the
occassion. His early sessions i think he was clean: the "relaxin at
camarillo" sessions he was clean. But all the biographies I've ever
read describe a lot of bad nights
That being said, there's no doubt drugs can help some people play. I
don't use drugs myself, but my goal when playing music is to get into
something of an altered state of mind. drugs will do that, but with
nasty side effects. I've nothing against people who use drugs if they
don't hurt anyone else.
Stan Fong
> Hi. As a player with the 'blinding' speed of a Jim Hall, I often wonder
> how did the bop players who were on junk manage to play so fast? I'm
> talking drugs here so, wouldn't speed be a 'better' choice, as it were?
> Any psycho-neurologists willing to offer their opinions? Thanks, Rick
>
> audio clips, free lessons here; http://www.rickdelsavio.com/sounds.html
Clifford Brown was straight as an arrow and was a great bop player.
Wes Montgomery was straight. Although he didn't have blinding speed,
he was a great improvisor.
Stan
Rick Del Savio
though.
Cheers, Rick :)
--
Don Judy
"Keith Freeman" <dont.use.t...@nowhere.com> wrote in message
news:Xns9563CDDE7...@194.134.2.2...
> > If it's available, heroin
> > causes no physical debilitation. It's all the accompanying problems,
> the
> > social stigma, the lack of nutrition from leading an outlaw life, the
> > attempting to procure the "fix" without the money that hurt.
> You have a point (even if "no physical debilitation" is somewhat
> overstated), but doesn't the dosage have to increase for the addict to
> keep on an even keel? In her book High Times Hard Times Anita O'Day
> mentions that at the end of her life Billie Holiday was shooting up tuna-
> cans-full of the stuff, not just teaspoons-full.
>
> -Keith
That's not true, that dosage has to increase. It can stay the same. What
causes the stepping up is the attempt to recreate the initial high and its
good points. This requires stepping up the dose. One can reach the point
where a dose that produces euphoria is about the same as a fatal dose. That
situation usually doesn't last long. Maintenance can be done at the same
level for a lifetime, as a matter of fact maintenance dosage is the theory
behind methadone treatment. I should point out we're only talking about
opiates here.
Don - who likes the better living through nutrition idea and knows his
playing and singing go in the toilet after even two beers.
Pt
He has been on the stuff for over 20 years.
I have never seen him stoned.
He is always happy and upbeat.
But will rip you or me off faster than you can spit!
As for playing music and drugs.
In the 60's I smoked a little weed and played gigs.
I thought I sounded great.
My drug of choice was alcohol.
It almost destroyed me and I quit over 30 years ago.
Until a few months ago.
I was at a gig when I had a broken toe and a bad cold.
I decided to have a few beers before going on stage.
It took the pain away and I was more confident than ever before.
I played fantastic.
That led to more booze and more booze till I ended up with a serious
injury and a heart problem.
I am once again dry and will continue to be for the rest of my life.
I can understand how a drug, almost any drug, can allow you to play
better at first
But it will inevitably end up becoming a battle that you can't win.
Even if it allows you to play better and enjoy it more it is only for
a short time.
If you want to go to hell before you die...do drugs!
Pt
Jurupari
>> know, it doesn't affect your coordination in the slightest.
Well, I once saw Bill Evans nod out in the middle of Eddie Gomez' solo. Marty
Morrell just banged on the drums until he came around and they went back to the
head and closed. It was in the middle of the evening, and he got close a
couple of other times too, but sounded just like you know who nonetheless. He
was playing fine, but was waaay out in numb city.
Clif Kuplen
Tone
David J. Littleboy wrote:
> "Tone" <a.ko...@computer.org> wrote:
> >
> > So whatever the actual number, all the way down to 2 - Gillespie
and
> > Parker, with 1/2 of bop originating from either of them - you end
up
> > with a large fraction of seminal bop being developed/played by
heroin
> > users. Probably a majority of it.
> >
> > And somehow the idea that all that herion flowing through all those
> > bloodstreams had no effect on the development of the music, seems a
> > little far fetched, at least to me. Did they come up with all these
> > radically far out "chinese music" ideas (in Louis Armstrongs
opinion as
> > well as lots of other jazz inovators who had created the music up
till
> > then) straight as an arrow?
>
> You are missing an alternative theory: they developed bop _in spite
of_ the
> drugs, and that there would have been a lot more great music made had
> recording sessions not been botched, ideas not been forgotten,
practicing
> not been neglected.
Ah, the parallel universe/perfect world theory? I'll take one in every
size, please.
;-)
frankly
"Mark Cally" <mile...@peoplepc.com> wrote in message
news:acae6f25.04091...@posting.google.com...
David J. Littleboy
"Tone" <a.ko...@computer.org> wrote in message
news:ci59ak$j...@odak26.prod.google.com...
Unfortunately it's the alternate world where the drugs/alcohol makes you
play better.
In this one, Pt's got it right.
Greger Hoel
wrote:
>i just want to know how bird kept himself from puking into his horn.
By fitting his reeds real tight, of course. That's why his tone's so
trebly
--
_______________________________________________
Always cross a vampire, never moon a werewolf
To reach me, swap spammers get bent with softhome
----------------------------------------------------------------------------------------------
Charlie Robinson
>know, it doesn't affect your coordination in the slightest.
>
>--paul
>
Except during that long fall that you might take while nodding out in the
middle of a solo-----you can't be serious---
Charlie Robinson Jazz Guitarist, Composer
You can hear and see me online (video) at:
http://66.194.153.49/~ramon/RamonPooser.swf
Soundclips:
http://www.cdbaby.com/cd/robinsonchazz
Jaime Sol
Artists are routinely inspired by new stimulus such as traveling,
relationships, death, love, etc. Many great works are centered around
traumatic or lige altering moments, and maybe some of the artists who
developed bebop used drugs to see the world through a different light, and
play what it was they experienced.
"Charlie Robinson" <robins...@aol.com> wrote in message
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