Paul Simon: jazz heavy and/or heavy-handed

The most recent additions to my collection have all been vinyl. It's that magical combination of warmth and nostalgia that keep me coming back for more . . . besides, some of those remastered cds are actually inferior sound. Such is the case with Paul Simon's solo debut in 1972, so I went with the LP (often lower in cost, as well).

I was drawn to the song Mother & Child Reunion, knowing it was recorded in Jamaica using the same studio and musicians as Jimmy Cliff and many reggae heavies. Note drummer Winston Grennan's outstanding work on this cut. If you don't know about Grennan's importance, google him immediately.

Well before Graceland (1986), Paul Simon was obviously a great listener/fan, not yet known as the ethnomusicologist he really is; eclipsed by his status as poet and folk god. But this eclectic 1972 debut is a masterpiece of mixed culture.

What's striking about the 1972 debut is how much jazz is present. Musicians such as Steve Turre, Airto, Stephan Grappelli, Ron Carter . . . with Grappelli on Hobo's Blues, Simon substitutes for Django, once again demonstrating how underrated a guitarist he really is . . . if anything, he's a bit heavy-handed on this tune and takes away from the jazz aspect just a bit . . . but this was 1972 and Paul was still showing just how heavy he could be on his ax. He more than makes up for it with his patented, understated, ethereal vocal style.

Another piece of vinyl I just got ($5 delivered!!) is the 1981 Pat Metheny/Lyle Mays record, As Falls Witchita Falls . . . having seen this tour in '81, having the record is quite a treat. It's just Pat, Lyle and Nana Vasconcelos adding amazing color (riveting in concert).

woof

Woof - Listen to what I am working on:

http://www.sendspace.com/file/kur2jv

Fun Pete . . . you're hired! As usual, you're all too stealthy. Sounds like Paul live in concert . . .

It was some time ago that Mike told
me of this configuration and I got it,
right away but shelved it and recording
for a long time, working on other things.

But I dug it up a couple of weeks ago
and decided to start piecing it out and
remember how much fun this stuff is
to work out. I will post it, when it's
finally done to my liking.

Pete,

Do you own an acoustic drumset? Just curious.

I do, Don and it's packed away. I have
a modest (tiny, really) home and there
is no place to set it up.

In the future, I will build or buy a larger
one, where I will be able to put it all back
together again or buy a new acoustic
kit, altogether. I look forward to the day.

I understand, Pete.

Thanks.

Slam.

http://www.thediametrixletter.com/LateInTheEvening2.mp3

I have always wanted to play with Paul Simon.



I have not recorded for a while. This was fun!

Regards,

Are those all your cymbal hits, Pete? Great choice of tune to work with . . . very fun. Can't even tell what you're playing! Nailing the snare; adds power to the mix.

Paul is such a musical chameleon . . . Me & Julio Down By The Schoolyard leads off side 2 of the LP . . . no room for you, Pete, on that cut!!!!

Next we'll probably here Paul Simon tackle Pre-Columbian music . . . wait, he's already done that!

I cannot take all the credit, with
the timbale player sharing.

Here is the original tune:

http://www.sendspace.com/file/b7drsn

Hey Pete,

I said it back in the day on Billy's OLD forum and I''m saying it again on your new one.

You are among the great players that I listen to and study... The only difference between you and the others is they are out there cutting cd's and knocking over performance venues.

YOU DA MAN!

Don.

Though I know I am not deserving, I am
appreciative and feel the world of your
talent, Don and going back.

You've always been a modest man, Mr. Corona. That just happens to be you, and I can surely appreciate it. I'm also sure you know me well enough to know that if I didn't mean it, I certainly wouldn't say it. As outspoken has I've been all these years, I think it's quite safe to say that I have never come off like I've had an ego to maintain. If the geographical logistics were in my favor, I'd have no beef studying under you, Pete.

I don't mind saying that privately or publically.

Slam.

Excellent playing, Pete!

Best regards!

woofus wrote:The most recent additions to my collection have all been vinyl. It's that magical combination of warmth and nostalgia that keep me coming back for more . . . besides, some of those remastered cds are actually inferior sound. Such is the case with Paul Simon's solo debut in 1972, so I went with the LP (often lower in cost, as well).

I was drawn to the song Mother & Child Reunion, knowing it was recorded in Jamaica using the same studio and musicians as Jimmy Cliff and many reggae heavies. Note drummer Winston Grennan's outstanding work on this cut. If you don't know about Grennan's importance, google him immediately.

Well before Graceland (1986), Paul Simon was obviously a great listener/fan, not yet known as the ethnomusicologist he really is; eclipsed by his status as poet and folk god. But this eclectic 1972 debut is a masterpiece of mixed culture.

What's striking about the 1972 debut is how much jazz is present. Musicians such as Steve Turre, Airto, Stephan Grappelli, Ron Carter . . . with Grappelli on Hobo's Blues, Simon substitutes for Django, once again demonstrating how underrated a guitarist he really is . . . if anything, he's a bit heavy-handed on this tune and takes away from the jazz aspect just a bit . . . but this was 1972 and Paul was still showing just how heavy he could be on his ax. He more than makes up for it with his patented, understated, ethereal vocal style.

Another piece of vinyl I just got ($5 delivered!!) is the 1981 Pat Metheny/Lyle Mays record, As Falls Witchita Falls . . . having seen this tour in '81, having the record is quite a treat. It's just Pat, Lyle and Nana Vasconcelos adding amazing color (riveting in concert).

woof

Hey Woof,

It is absolutely amazing how multi-cultural appreciations are being revisted these days. Great topic man... and inexhaustible.

Hey Pete,

You lock well into the brass syncopations... and from what I remember with this tune (and others by Paul), the music leaves a lot of room for improvisation. It is VERY nice to hear this one with the Latin flava outright

I'm listening to the naked track now ... and envisioning what can be done with a bit more aggression on the drums and accents around the toms.

Hey man... though not having an acoustic kit up and ready, your mix on the e-kit was perfect within the track.

I luv it!

Thank you, again, Don, Alex and
John for your comments.

When I think of doing one these
tunes and in a real situation, I
think of myself working for a
Latin Band-leader, who, right off,
is NOT keen on having drums in
the tune, to begin with and who
is set on muzzling me as much as
he possibly can, before I even
start to think of what to do.

After all, in Latin arrangements,
there are usually no parts ever
written for the drums. So, as a
result, I have to come up with
a part that does not infringe
on any of the other rhythmic
parts, as in the bongos, congas
and timbales. They all have to
be heard. This explains the low
mix of the trap set in most of
the orchestra situations.

So I walk into these with a real
fear of overplaying and not just
in terms of notes but sounds.

I remind myself of how it was
I did these in the past and how
I would sit and just think of a
pattern that would not interfere
with the other instruments.

It's a real challenge for me.

Thanks, again, everyone.

PS: It reminds me of a joke
about drummers and Latin:

"Oh, so you think you can add
to my arrangement? Cool. OK.
You can play the drums. Here,
take this cowbell and stand
over there."

Yeah, I know that one too; and thanks for the reminder Pedro!



IMHO, many should think in layers rather than definitively - as if whatever any of us do is the final word on anything to anyone. Not so; and not having such an attitude allows the music to breath and grow.

It also reminds me a joke that guitar players exchange among themselves: "How may guitar players does it take to screw in a light bulb (?)... one to screw it in, and the rest to say 'I could have done that better! ' "

Cool!?

Yeah, I thought so!

Suss,

Btw, I did NOT mean by that joke that
MY part could not be added to. It is
their arrangements that they feel need
NO drums, which, of course, is their per-
ogative, as we know - being support.

Admin (Pete) wrote:Suss,

Btw, I did NOT mean by that joke that
MY part could not be added to. It is
their arrangements that they feel need
NO drums, which, of course, is their per-
ogative, as we know - being support.

Hey Pedro... no need to explain: I knew where you were coming from.