Robben Ford Discussion

Michael · Posted: Fri Apr 30, 2004 6:26 pm Post subject:

The Baltic ... not a new band for Garth ... although he is playing with a new band from time to time ... just not at the Baltic. I am anxious to hear the new band as Garth is really inspired by group. He was telling me about it last week.

Robben told Jordan ... scales & chords ... and apply yourself like a "mofo". Garth also admitted to the 10 to 12 hour days with the guitar in hand practicing. I just thought it was interesting.

juspasinby2003 · Senior Member Joined: 18 Dec 2003 Posts: 255

Michael,
Garth didn't have the new band at the Baltic? Who was with him?

I understand that the new band is:

Keys and vocals- Clifford Coulter
Drums and vocals- Ron E Beck
Sax, Percusssion and Vocals- Danny Hull

He's going to be a JJ's soon with the new band. Not sure of the date, but I could find it if you need to know.

Michael · Posted: Sat May 01, 2004 1:06 pm Post subject:

Endre, Peter, and Tony ...

Aeolian · Posted: Sat May 01, 2004 6:37 pm Post subject:

juspasinby2003 · Senior Member Joined: 18 Dec 2003 Posts: 255

Alright Aeolian, now you got me goin'. Where can I get up to speed on what Wedemeyer has been doing? Never hear a peep from him down under (LA). I'm dying to hear how he has evolved.

I can't seem to find it in my cd stack, but is "Live at the Rep" the Cain thing you referred to? Is that Danny Hull soloing in "Barefootin'"?

Aeolian · Posted: Sun May 02, 2004 9:45 am Post subject:

Actually, I don't have "Live at the Rep". The disk I was referring to is called "Blue Monday, Live at Norma's" No idea where Norma's is. Chris does 'Barefootin" on this recording also. I've got it on now and they're doing a really cool repeating turnaround at the end of "Drink Muddy Water", 3--6-2-5 over and over again, with Chris soloing over it. Great way to extend and put a different flavor on a blues (throw a bit of theory in there since this is the theory page Smile

)

As for JW, he's been teaching and working with an over talanted cover band (with Bryant Mills on drums) around town. Their standing Sunday gig in Campbell has become the musicians hang recently. I've been trying to get him to check out this forum so if another knowegeable person jumps in it may be him. A few years ago he was playing with Vince Welnick's Missing Man Formation. There are a few clips on Vince's site but they don't really show John stretching. I understand that the Deadheads have been trading live recordings of the shows and I'd love to find some. John told me how on-line debates went on about his approach to this part of that song as compared to Kimock or Herring or whoever. That gig led to an invite to audition for Phil and friends (which we all know Robben got until he moved on and Herring took over). Bootlegs of these workouts are probably around and would be cool to hear. Phil was pairing guitarists (can't remember who got paired with Robben) and John and Robben together would be interesting. Somewhere out there in the bootleg universe is a recording of Robben and John playing together with Pat at the Mint. I asked Robben about that at the October clinic and he said that Pat records everything but he didn't know anything about it.

We did get a little music discussion and theory back into this thread right?

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kirk95 · Posted: Sun May 02, 2004 11:18 am Post subject:

frank0936 · Posted: Tue May 11, 2004 9:31 am Post subject: my 2cents worth

I just went out to my car and brought in the "Tribute" cd. As to this discussion-try to write a reply without any knowledge of sentence construction. It's the same thing. You learned this so long ago that it's a part of you now. Theory has to become a part of you so you don't have to think about it. I am a self-taught player-not because it was cool, or because I thought theory got in the way of making music-but because there were no teachers in my small town, and no money for lessons even if there had been. Listening to Robben showed me a more interesting way to play. Now I need to get some of that theory internalized so I can make my playing more interesting, too. I couldn't play minor pentatonic "wanking" without learning those forms, and I won't be able to play anything more sophisticated without learning more.

Chet Atkins was appearing with the Boston Pops Orchestra. The conductor, Arthur Fiedler, asked Chet in a condescending tone if he read music. Chet answered, "Yes sir, I can read music. But I try not to let it get in the way of my pickin'. " That's what I aspire to. Like Robben, I want to know this stuff, but I don't want it to get in the way of my pickin".
Thanks for letting me ramble on.
Frank

telefunk1 · Posted: Tue May 11, 2004 11:56 am Post subject:

Frank - well said (and Chet, you, too). I was thinking about this thread in the car the other day and started laughing. Bloomfield played this tune ages ago, and I am pretty sure he was a self taught player (I read a book about him years ago but do not recall much of it) - or at least it sounds like he was just trying to get outside his normal BB King inspired approach and play some wild shit. Then Robben does his take years later and we end up debating his technique and the balance between theory and soul. What made me really laugh is that when I first heard the Butterfield Blues LP with Work Song I hated it - sounded like crap to me. Much rather listen to one of the umpteen "real" jazz versions out there.

juspasinby2003 · Senior Member Joined: 18 Dec 2003 Posts: 255

telefunk1 · Posted: Thu Jun 03, 2004 6:39 am Post subject:

JPB - it is interesting to consider which pieces of music strike the nerves that motive us to pursue music in the first place. I dug out the Columbia blues master collection of Bloomfield tunes to listen to Work Song again, and I still come away with my original impression. It just does not do anything for me. I can listen to the same CD and the live cut Mary Ann, with Al Kooper, and be literally blown away when they kick it up for Mike's solo. Very cool that you were fortunate enough to see him live. I think, perhaps, that this is a real key to our influences. You had a chance to see Bloomfield many times, and credit him as a major inspiration. I had the same reaction to Freddie King, after seeing him live during the last few years of his life. My first exposure to RF was live, also, with Spoon way back when. I can honestly say that although I would probably still be a fan of Robben's based on his recordings, it was the live experience that hooked me to begin with.

Another comment on Bloomfield. I have always been more of a Butter fan than Boomfield, and when I listen to the two together I have always enjoyed the harp and vocals more than the guitar. As much as I like the Buttefield tribute CD that Robben et al did, it really pales in comparison to some of the stuff that Butter was capable of. Listen to the Ford version of "Everything's Gonna be Alright," then listen to the Butter live version. It will send chills up your spine; there is just no comparison. And Andy and Mark are damn good players, don't get me wrong. Many people on this list, and other guitar lists, strive to incorporate sax licks and phrasing into their guitar playing, but damn, listen to the harp solos that Butter created. Talk about some inspiration for guitarists!

Bluelobster · Posted: Thu Jun 03, 2004 8:07 am Post subject:

, oh yes , have u seen the woodstock one with Buzz feiten on guitar .
This band was way ahead from his time, perfect blend : black & white , jazzmen & self taught, and this incredible harp blower. A must have seen.
Wink