I have the same problem (though probably much worse) than Bill Blatner -- about timing , ahead of the beat, behind the beat, etc. and am hoping that this series will help. Love that it focuses squarly on timing, rather than on the riffs. That's what I need lots more of if-- possibly--incredibly--I'm ever to get this shuffle/swing groove, or any rhythm for that matter. Thank you.
Maybe I have a question in common with Bill B too--about those TaTa rhythm chords that are at the center of the lesson. Do they have to be articulated with the tongue to the roof of the mouth? Since the whole rest of the number is tongue blocked, it seems more straightforward to use pulls on those important rhythm notes: covering three holes to build up pressure and then pulling off to uncover the dyad in question. Wouldn't that work? To me it seems to make basically the same sound, and it's much easier to follow a tongue blocked rhythm chord with a half step bend tongue blocked than to switch from basically a pucker attack with the tongue on the roof of the mouth to a tongue block bend. Does that make any sense?
Good question - but it is of the UTMOST importance that you articulate the "t" sound for this type of rhythmic playing. If you don't, then you simply won't get that special sound associated with this style. A simple "pull" of the tongue off of the harp to play the chords will not work. I have been doing this a long time and haven't ever really looked at it as a "switch" from TB to pucker, but rather when you play chords, they are always articulated unless you don't want that strong, percussive and sharp attack. So in essence, no it wouldn't work, and it's not the same sound. Good question!!
Why not call it "Strolling at the Junction"? Could be theme song of Sonic Junction!
Thanks Terry - Good idea! Too late for this series, but if I ever do anything else with the song...you never know.
While I'm doing a wish list: Robert Johnson's "Hot Tamales and Red Hots". People have picked up all the rest of Robert Johnson, but seem to skipped over this one. It's sure not classic blues, but it has that aroma of the Maxwell Street scene you describe so well in your writing.
I'm new here. Thrilled to be getting instruction from one of the greats!
Since the subject of the day seems to be standards we'd like to have lessons on, I vote for your "Stormy Weather" and "Lullaby of Birdland" That would priceless, though far beyond my capabilities I'm sure.
Other Great American Songbook classics that I'd feel priviledged to get your version of:
A swinging Glenn Miller number, maybe "Tuxedo Junction" since it's so bluesy.
Something by Hoagie Carmichael, maybe "Buttermilk Sky".
"Your Cheatin' Heart" or some other Hank Williams.
"Perfidia" or one of the other Latin boleros done by Nat Cole
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