Member Since: 04/03/2007
Band Website:
Band Members: Sanford Barnett-Guitar,
Craig Shaw-Alto, and Tenor Saxophone,
Julian Garfolo-Upright Acoustic Bass,
Ben Wanicur-Bass,
Sean Nelson-Drums,
Spike Klein-Drums,
Matt Stephens-Drums
Influences: John Coltrane, Sonny Stitt, Sony Rollins, Joe Henderson, Wayne Shorter, Johney Griffin, Bird, Roscoe Mitchell, Eric Dolphy,Lee Morgan, Clifford Brown, Freddie Hubbard, Kenny Dorham, Dizzy, Wes Montgomery, Grant Green, George Benson, Rodney Jones, Peter Leitch, Pat Martino, Mark Whitfield, Tal Farlow, Johnny Smith, Bobby Broom, Joe Pass, McCoy Tyner, Herbie Hancock, Tommy Flanagan, Winton Kelly, Charles Mingus, Paul Chambers, Rufus Ried, Elvin Jones, Jack D, Tony Williams, Roy Hanes.....
Sounds Like: Right now I'm working hard on three aspects of linear presentation.
The 1st is an older style used in classical as well as early jazz. It concerns using major or minor triads to out line harmonies with diminished 7th chords serving as dominants to strengthen the sense of tension and release.
The 2nd style of line is quartal, or 4th based. This also uses triads; however they are not major or minor but "perfect", constructed in 4ths. These triads can be arranged inside the pentatonic scale. Two quartal triads a whole step apart create a "melodic maze" through which you can negotiate the pentatonic scale. This sound reminds me of Coltrane in the Impulse years or Woody Shaw in the late 60's/early/mid 70's.
The 3rd is the systematic use of chromatisim. Dominant seventh, and Minor seventh chords can be out lined chromatically. These two are enough to outline any harmony or progression. These lines are for playing up-tempo pieces. All the notes are right next to each other so you can play fast. Can't play Be-Bop without it.
These three approches used musically create intresting and satisfying lines.
Record Label: Top Shelfmspmb src="http://lads.myspace.com/photo