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Discussion Starter · #1 ·
http://en.wikipedia.org/wiki/It_Don't_Mean_a_Thing_(If_It_Ain't_Got_That_Swing)

I`m a bit early but I thought I`d get things started for Feb since it`s such a short month anyway.

Chris offered me the chance to shout a number and as it happened I`d just started practicing with a new backing track rendered in BIAB so it was a bit of a happy coincidence.

My BT is a 3 chorus version at a blistering 250 BPM which I did not expect to publish but instead merely intended to use as an aid to building up speed. I know there are a lot of really great players out there that can give us the goods with this one So no trouble there I hope.:)
Chris has also Kindly supplied the thread with a slower BT ( I`ll be on that I think ) So people who don`t particularly enjoy fast stuff can still contribute with a more soulful rendition. There are also sheets up there for folks who need them.

I`m sure there will also be other Backings available elsewhere on the internet.

As usual YouTube is full of great examples and I for one have enjoyed many of the Ella Fitzgerald renditions that are great for inspiration.



Link to the Dope

https://app.box.com/s/1dyt22y1ibawtwh14mw1
 

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I love this tune.... I will have a lot of fun doing this....but it will mean nothing ...if it aint got that swing shuwop shuwop
 

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Discussion Starter · #5 ·
@ donnersm. Well done for getting in before the start of the month and thanks for supporting this months tune. Nice firm tone and recording.. can`t fault your take on the improvisation either. I do hope that you get a chance to submit a few more renditions of this classic Ellington number. Well done.
 

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Sean, I really enjoyed that. Very nice playing, wish the recording of your horn was a little cleaner.... I hear a lot of the room, which gives you a bit of a hollow sound. But the playing was a blast.
 

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Sean, I really enjoyed that. Very nice playing, wish the recording of your horn was a little cleaner.... I hear a lot of the room, which gives you a bit of a hollow sound. But the playing was a blast.
Inferior gear unfortunately. I'm looking at getting a better recording set up soon. Just need the cash. Thanks for listening.

@ littlewailer that was a cool take... I like the last chorus best
Thanks. Listening back again the timing doesn't sound as bad as I thought. Still a tad off but I might be being picky. I've really been working on how long is just long enough to repeat a motif or note without it sounding boring. I thought that off beat thing might be cool but seems like it falls into that grey area of too long to be captivating in the moment and too short to really develop over time.
 

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I like the last chorus best
Me too. That solo just got more free with each chorus.

Here's something I did several years ago with a gypsy jazz band. Three acoustic guitars and an upright bass, playing way too fast, along with an unfortunate clarinet player whose solo begins at approx. 1:04...

http://www.southfloridahorns.com/idmat.mp3
 

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Me too. That solo just got more free with each chorus.

Here's something I did several years ago with a gypsy jazz band. Three acoustic guitars and an upright bass, playing way too fast, along with an unfortunate clarinet player whose solo begins at approx. 1:04...

http://www.southfloridahorns.com/idmat.mp3
Man that's fast. I love that cookin' gypsy jazz vibe. Great track. Chug a chug a chug.
 

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Discussion Starter · #13 ·
@ Sean. I kinda hoped you`d have a shot at this and I`m not disappointed. Same as the other guys re your Improv. some really nice rythmic stuff and playing throughout. a 21st Century angle on whats now a pretty old song. A real Potential "crowdpleaser" I thinks. I`ll be watching out for updates throughout the month.

@ Southfloridahorns. I`m listening on my Old Acer Laptop but I still heard the Pro quality. Loved the Solo.Took me back to the early 80`s when I used to hang about the local jazz club listening to the old timers. I don`t play Clarinet any more but I have to say having your fingers directly on the instrument really does make these kind of numbers so much more fluent to play than on Saxophone. Great Stuff.

I don`t get how younger Folks could not want to dance to music as lively as this. Maybe there will be a revival one day? who knows?
 

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Thanks Clivey - I actually have always played this tune in D- F Maj on tenor. I'll do a solo version in a bit to show how I usually interpret this one while busking. I caught myself doing some repetition stuff that I usually try and avoid like the plague. Not the motif stuff but literally repeating a phrase or something eerily similar and not meaning to. The new key could be partially responsible.

donnersm - I enjoyed your take very much. I'm usually not a fan of such reverb soaked sounds but with your treatment of the melody it works quite well. I'd like to hear you play a more straight ahead version at some point though.
 

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Discussion Starter · #15 ·

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Just got a Conn transitional 251xxx (with an option to buy) in the house and used our TOTM as an opportunity to play test it against my 1952 Selmer SBA :). Not much preparation as usual, so the keywork of the Conn didn't really feel comfortable after the 10 minutes testing before hitting the record button.

Here is a mixed take made out of three single takes: Conn solo at 0:37, SBA solo at 1:40 and chase chorusses starting at 2:41. Conn is right in the mix, SBA left. Used my Ponzol 120 mouthpiece and a La Voz medium reed. Added a slight amount of reverb.

- 'It Don't Mean A Thing' (Ponzol 120 - 1932 Conn - 1952 SBA): http://soundclick.com/share.cfm?id=12670972

I already posted a thread about the option to get this Conn about a week ago. Also posted the two orginal recordings on Conn and SBA in that thread. See this link in case you would like to check them out:
http://forum.saxontheweb.net/showth...ions-please!&p=2176390&viewfull=1#post2176390
 

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That Conn sounds great. I got a real Willis Gatortail Jackson vibe from you with that one.

They sound actually not all that different. But the SBA does seem smoother.

Classic Peebee either way.

I like your false fingering of the Bb (tenor C). I always seem to get a little behind in the rhythm when I do that. Probably all the extra muscle to press down those keys...
 

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Discussion Starter · #18 ·
@mrpeebee

I`m baised towards 1930`s Conn Tenors LOL. I like the sound of both horns but there is something that sounds time machiney about Vintage American.(Your first solo)
I suppose It`s knowing that that the US Musical instrument industry was pretty well responsible for the tones and the tunes that realty invented Pop,Jazz etc.The European machines (The original bling) were expensive by comparison and were bought by those who had made it or who aspired to
How fast is it compared to the Selmer and could it be made faster?

Re all your Takes. I had tired fingers just listening . 4 times. You did great for such a Tempo and such duration. You are one of the Players I hoped would enjoy this number after a run of more laid back tunes and did I say I really loved the Trannie. I`d Keep it Peter. seriously It sounds great/ perhaps better and it`s new to you and the piece suits it too. This maybe the only chance you get to grab one if you like what it can do and you think you can get used to the keywork. I`ve had mine 30years this year and never regret it.
 

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Just got a Conn transitional 251xxx (with an option to buy) in the house and used our TOTM as an opportunity to play test it against my 1952 Selmer SBA :). Not much preparation as usual, so the keywork of the Conn didn't really feel comfortable after the 10 minutes testing before hitting the record button.]

Peter/mrpeebee, I think the Conn is darker and more spread sounding than the SBA. They both sound great. In my experience I have found that Conns don't necessarily sound all that different out front to the listener but they feel quite different to the player. They feel a lot more resonant and fun.
 
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