Never heard 'em

by **Carlhole** » Sun 09 Dec 2007, 21:13:36

If you ever tried searching around on CDBaby for new talent, you'll see just how many are out there looking for an audience. But it's s-o-o-o hard to find a really good one. You have to sort through tons of chaff just to find that one kernel of wheat.

I suppose this thread will have to tolerate Hip Hop and Metal lovers. But please...unknowns only.

by **I_Like_Plants** » Sun 09 Dec 2007, 21:25:13

Let's see, unknowns..... some guy who plays blues slide and sells his CDs at "Egg Park" in Palo Alto, California, USA. Unknown and will stay that way, he's good though. The thing is, he's caught on - he can go out and play his guitar and make some $$ while most of the rest of us will be in soup lines or stuck on the farm or something.

by **PenultimateManStanding** » Sun 09 Dec 2007, 23:27:30

$this->bbcode_second_pass_quote('Carlhole', '
')Does anyone else like jazz? I mean, real jazz? And especially stuff that has been created from the 90's on? If so, I'm always looking for new meat.

by **Carlhole** » Mon 10 Dec 2007, 00:19:28

$this->bbcode_second_pass_quote('PenultimateManStanding', '')$this->bbcode_second_pass_quote('Carlhole', '
')Does anyone else like jazz? I mean, real jazz? And especially stuff that has been created from the 90's on? If so, I'm always looking for new meat.

by **inculcated** » Mon 10 Dec 2007, 09:50:57

Paul Broadnax

Old school, but so am I.

Not jazz, but the best rock band you've never hear of:

King's X

by **PenultimateManStanding** » Mon 10 Dec 2007, 13:40:26

$this->bbcode_second_pass_quote('Carlhole', '
')Coleman Hawkins is not an unknown. What are you going to post some unknown dead guy from the 50's?

by **PenultimateManStanding** » Mon 10 Dec 2007, 15:41:02

Furthermore, Carlhole, how many people have ever heard of most of the jazz greats of half a century ago? Maybe you have and I have but how many people have ever heard of Coleman Hawkins? Why slog through a bunch of crap when there is such great stuff, guaranteed, to hear from the likes of him and others of the golden age of jazz?

by **dinopello** » Mon 10 Dec 2007, 16:08:59

$this->bbcode_second_pass_quote('PenultimateManStanding', 'W')hy slog through a bunch of crap when there is such great stuff, guaranteed, to hear from the likes of him and others of the golden age of jazz?

by **PenultimateManStanding** » Mon 10 Dec 2007, 17:12:38

$this->bbcode_second_pass_quote('dinopello', '
')Cause you can't go see a dead guy at your local jazz club.

by **truecougarblue** » Wed 12 Dec 2007, 01:34:41

My good friend Buzz Clic of the RCR. His oldest stuff with Bold Chicken is 20 years ahead of it's time.

by **Carlhole** » Fri 14 Dec 2007, 05:27:53

$this->bbcode_second_pass_quote('Wiki', 'C')allier, a childhood friend of Curtis Mayfield, began recording in 1963 but never reached stardom despite a series of regional hits in the 1960s and 1970s. In 1983, he gained custody of his 12-year-old daughter Sundiata and decided to retire from music to look for a steadier income. He took classes in computer programming and landed a job at the University of Chicago in 1984.

He reemerged from obscurity when British DJs discovered his old recordings and began to play his songs in clubs in the early 1990s. Acid Jazz Records head Eddie Pillar brought Callier to play clubs in Britain beginning in 1991 and he began to make regular trips to play gigs during his vacation time from work.

In the late 90s Callier began his comeback to recorded music, contributing to Beth Orton's Best Bit EP in 1997 and releasing the album Timepeace in 1998, which won the United Nations' Time For Peace award for outstanding artistic achievement contributing to world peace. Curiously, his colleagues at the University of Chicago never learned of Callier's life as a musician, but after the award the news of his secret life became widely known and subsequently led to his firing.[1]

Callier today is continuing his recording career having currently released five albums since Timepeace.

by **I_Like_Plants** » Fri 14 Dec 2007, 18:18:40

$this->bbcode_second_pass_quote('dinopello', '
')Cause you can't go see a dead guy at your local jazz club. Jazz really wants to be heard live.

by **dinopello** » Fri 14 Dec 2007, 18:51:31

$this->bbcode_second_pass_quote('I_Like_Plants', 'T')he saving grace is with the economy doing a really good collapse, younger people won't be able to afford to go into the club

by **TheDude** » Fri 14 Dec 2007, 19:24:38

Carl - couldn't do anything with that link you provided but here's Terry Callier - Love Theme from Spartacus at YouTube.

Been listening to Jimmy Brant and Speedy West. Don't know if you want any C&W in your jazz.

I like mostly recordings of dead people, who lived in a gritty grimy world sans electricity/running water/pavement, like the one we may be heading for. People like [url=[url=http://www.juneberry78s.com/sounds/Jim%20Howard%20-%20The%20Little%20Carpenter.mp3]http://www.juneberry78s.com/sounds/Jim%20Howard%20-%20The%20Little%20Carpenter.mp3[/url]]Blind Jim Howard.[/url] About six notes in that song. Probably hundreds of years old. Can't get enough of it myself. Ain't Coleman Hawkins, for better or worse! Or neither. I like CH too as it happens. No one's going to blast a tenor solo while mending a fence.

Future of music making aside:

In a total collapse brass instruments might be the only game in town, since the woodwinds will eventually run out of reeds to play on - especially oboes/bassoons, who chew up their stuff in a very short time, and reeds are very tricky to make. Sax/clarinet reeds are much simpler to make, but even then you need to know where to find Arundo donax (giant reed) for material, and how to cut/shape them. Also woodwinds have a plethora of keypads that will eventually crap out as well. Trumpets/trombones on the other hand are just tubes and valves, treat 'em well and have some oil on hand and they should still work for a while.

Stringed instruments? Ever draw steel wire with a die? That's just for the unwound stuff - not sure how you make a wound string but I don't think it's very simple! All the accounts of old fashioned homemade violin making usually included going down to the corner store to buy some strings.

by **I_Like_Plants** » Fri 14 Dec 2007, 19:44:08

the old violin/guitar/ukulele/etc strings were gut. Don't last as long as steel or play as loud, but save your pig guts ..... to make sausages and kill and dress out a politician and make some great strings.

Steel strings are only about a 100-year old technology.

by **PenultimateManStanding** » Fri 14 Dec 2007, 21:07:58

In the spirit of the OP, The Funk Brothers were the studio musicians to back up all the Motown greats. Everybody knew of May Wells, Smoky Robinson, The Supremes and the other great Motown acts back in the late 50s, 60s and 70s but few ever heard of these guys:

$this->bbcode_second_pass_quote('', 'T')he Funk Brothers was the nickname given to a group of Detroit, Michigan, session musicians who performed on the backing tracks to most Motown Records recordings from 1959 until 1972, when the company moved to Los Angeles. The Funk Brothers played on many major Motown hits such as "My Guy", "I Heard It Through the Grapevine", "Baby Love", "Signed, Sealed, Delivered I'm Yours", "Papa Was a Rollin' Stone", "The Tears of a Clown", and "(Love is Like a) Heat Wave".

by **SpringCreekFarm** » Fri 14 Dec 2007, 21:27:25

Phil Disera - Toronto, Ontario

Jake Thomas - North Bay, Ontario

Peter Cliche - North Bay, Ontario

One musician that I enjoyed for years as an "underground" musician until, thanks to Randy Bachman, he became posthumously famous.

Lenny Breau. This man understood the guitar better than any man that ever lived or is likely to ever live. I know....it's just my opinion but I've listened to Lenny since 1986, 2 years after his death and have aquired most of his material that has been issued in the last 10 years or so. I started out with a recording of: Lenny Breau - The Velvet Touch of Lenny Breau, that was taken off the vinyl cut. From a guitarist's point of view, this is one of the best live recordings ever.

People out there will say that he wasn't the best, but most of his peers admitted his style was by far a complete nightmare to learn. To hear him play was an ethereal experience and anyone who plays guitar, especially fingerstyle jazz, would attest to his genius ability in harmony, counterpoint, playing 3 different parts simultaneously, extensive harmonics and most importantly his sensitivity and brilliance in interpreting the mood he wanted to portray.

Poor guy was murdered and tossed into a swimming pool to cover up the murder.

If you get some Lenny, you won't be disappointed.

by **PenultimateManStanding** » Fri 14 Dec 2007, 21:40:30

Lenny Breau thanks, SCF, I'd never heard of him. Sounds like he influenced Bill Frisell.

by **SpringCreekFarm** » Fri 14 Dec 2007, 21:47:10

Wow. You know how you kind of get a perception of people around here based on their posts?

I always thought of you as a real art aficionado.

I'm honoured to turn you on to Lenny Breau.

I understand that you have a hearing difficulty. So how does music work for you? Please excuse my asking.

Lenny influenced many, many players. He more or less started as a Chet Atkins prodigy and expanded very quickly into being one of the most innovative players ever. If you like chord melody with tasty runs, Lenny is the pioneer.

I'm a fingerstyle player and I use elements of Lenny's playing in my style.

by **PenultimateManStanding** » Fri 14 Dec 2007, 22:06:37

$this->bbcode_second_pass_quote('SpringCreekFarm', '
')I understand that you have a hearing difficulty. So how does music work for you? Please excuse my asking.

Never heard 'em

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