TALK @ PhilMusic.com - The Online Home of the Pinoy Musician
The Music Forums => Jazz and Blues Cafe => Topic started by: klause on September 24, 2013, 11:06:03 AM
Title: That West Coast Sound
Post by: klause on September 24, 2013, 11:06:03 AM
Anybody here into stuff from Boz Scaggs, TOTO, Kenny Loggins, Christopher Cross, Ambrosia, Eric Tagg, Steely Dan, Airplay, The Doobie Brothers, Bill La Bounty, The Player, Kittyhawk, old Chicago, Bill Champlin, EWF, Mr. Mister and the likes?
Its songwriting with a dash of rock and great harmonies, sometimes veering in a jazzier direction, a couple of solos in one neat pop format. Not too fast, not too loud - but with just enough groove to keep it going.
Eto yata ang mga playlist ng 80s-90s OPM supergroups, if I'm not mistaken: Old Side A, Artstart, Second Wind, Passage, etc.
There are even accounts that it contributes to the evolution of smooth-pop jazz (?)
Though net info usually define the West Coast - AOR Pop differently (e.g, made by studio musicians, soft rock, album oriented, etc.), I still can't find the elusive factor that makes it different from the rest.
I really wonder what it is.
Title: Re: That West Coast Sound
Post by: Deacon Blues on September 28, 2013, 07:28:47 PM
Hmmm ... how about Jeff Porcaro and his trademark shuffle groove.
It's all over those records released during that era.
Title: Re: That West Coast Sound
Post by: klause on September 30, 2013, 09:36:52 AM
There's also that ubiquitous Yamaha DX-7 sound. :)
...which the EPs, I'm not much of a fan (by preference, ha ha ha). I lean towards the vintage-y patches. Well, every hit between those times should be stamped "Powered by DX-7".
Here's another: The use of early arpeggiators (Synclaviers?) bubbling underneath. :-D
I've also observed the defined chord changes (Chorus, Verse, Modulate, Solo Outro) that tied songs into a whole, as opposed to crap songs with good parts. Parang ito rin yata nag naging template ng OPM 80s?
Title: Re: That West Coast Sound
Post by: dannygatton on October 02, 2013, 09:27:07 AM
There's also that ubiquitous Yamaha DX-7 sound. :)
Fender Rhodes in the 70s, Yamaha DX-7 in the 80s? Ganun ba iyon? How about the '90s? IMHO '90s to the turn of 21st century jazz reverts back to bebop or I would call neo-bop. Pat Metheny is probably the most influential. Jimmy Bruno and the Italian mafia jazz guitarists of the east coast were big. It was also the golden age of custom made archtop makers led by Benedetto. Charlie Hunter is equally amazing. On saxophone, Joshua Redman was ambassador of the 40s-50s bop, and free-jazz of Coltrane. On Piano, Lyle Mays, Brad Mehldau and Diana Krall shunned the electric keys and opted for the more acoustic grand piano-- all reminiscent of Bill Evans.
Title: Re: That West Coast Sound
Post by: klause on October 02, 2013, 10:08:57 AM
Mismo Sir Danny,
Every era seemed to have its own 'sound'.
The 70s (Rhodes, Wurly, B3s) The 80s (Yamaha CP, DX-7 Tine EPS).
The 90s , IMO had a lack of distinct sound. Younger artists sampled most of theirs sounds as mentioned. Even the nu-pop artists would use libraries from the vintage catalog: Rhodes, ARPs, Moog, etc. Jamiroquai, SOS, James Taylor Quartet, MM&W, (the whole acid jazz lot, to be exact) D'Angelo, even Maroon 5.
Speaking of neobop, If I'm not mistaken Wynton brought the music to the fore, yet at a certain point they all had to go their separate ways (or revert?): Roy Hargrove, Nic Payton, Todd Williams, and more.
Title: Re: That West Coast Sound
Post by: klause on October 02, 2013, 10:09:52 AM
Oh yeah, how can I forget Jay Graydon? :)
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 02, 2013, 03:54:11 PM
Jay Graydon!!! Now there's an unsung guitar hero. Totally dig his sound and style.
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 02, 2013, 04:03:25 PM
Here's a nice highlight from the Cool Hand Luke article:
ONE INTERESTING THING ABOUT the glory days of the session scene was that you typically didn’t get an opportunity to sound like yourself until you made your mark. Until then, you’d show up, and the producers might throw all these names at you to explain which guitarist they wanted you to sound like. As a young guy coming up, that would always piss me off. I’d go, “Yeah, everybody wants to sound like Larry Carlton, but not everyone is Larry Carlton!” It would be really frustrating to kind of keep within the lines—you know what I mean? Now, everyone’s favorite influences come out in their playing—and I was certainly influenced by Larry—but what you usually get is a bunch of yourself coming out along with a little bit of whatever influenced you. That’s how you discover and define your own style—you can’t get there by copying someone else completely.
So if you wanted to bring your own approach into the studio, you really had to try to blow people’s minds and get your style into their heads. Playing on a hit always helped, because then some of the producers around town would look for the guy who helped make that song successful. And if all the planets aligned, man, they might not ask you to sound like someone else anymore. That was a major triumph for me when that happened.
But I can’t complain too much about having to absorb other players’ styles for certain producers, because it’s all knowledge I was able to use in other areas of my career. This was incredibly helpful to me in everything from helping plan chart success for my band projects and solo stuff, to all the tracks I’ve produced, to arranging or writing for other artists, to jamming on stage with Herbie Hancock and Wayne Shorter, Eddie Van Halen, Elton John, Quincy Jones and Michael Jackson, George Harrison and Bob Dylan, Jeff Lynne and Jim Keltner, and all the other incredible guitar players I’ve had the honor of playing with. I learned a lot, and I gained a lot of confidence. And when you’re confident, you can allow yourself to let go of certain things—of fear, perhaps— and just create. Sometimes, it’s scary and humbling, but also a lot of fun and a great honor to play with people I love, and who helped shape me as the musician I am. You also can’t be afraid to make mistakes. We all do. And they go by fast—unless some [sausage] on YouTube points out: “Watch at 1:34 where he f**ks up.” I will never get that, but, hey, that’s for another time. LOL.
One critical lesson the session world taught me was to be mentally and technically prepared for the unknown. I’ve said it before in these columns—the pressure was on when the engineer hit the Record button, and you had to deliver. So what mental tools can you use to survive and succeed—whatever path you take in the music industry? Humor is good. Confidence is good. Belief in yourself is a big one, too. Whatever you do, just be the best you can be. Don’t bullsh*t yourself or the music, and you’ll kill it. Trust me.
Title: Re: That West Coast Sound
Post by: klause on October 02, 2013, 05:06:34 PM
Hey Deac,
Thanks for sharing that great read. Funnily, I was reading it and Gabe just called - who brought another junk guitar for experiment, hahaha. Talk of synchronicity.
Anyhows, Luke's comment on the studio was spot on. It reminds me of Jeff Beck's interview one time, on missing the pressure of having to nail takes. "You've got to shine when its red light time", Beck says. And, Luke ended up touring with Carlton. How bad can you get? :drool:
In the 80s Christian contemporary arena, two names spring in the same vein: Dann Huff of Whiteheart and Chris Rodriguez (Michael W. Smith, recently with Keith Urban and Kenny Loggins).
The skillful studio musicians are obviously the soul in the west Coast sound, having to wear many musical hats on call. Working with the elite producers and artists are perhaps the best education one can get in the industry.
Well, here's something to close and cruise the Tuesday.
Could it be Steve Gadd on drums?
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 02, 2013, 06:34:05 PM
Hey Klause!
You got a new toy! And it ain't even Christmas yet. :)
Dan Huff. To this day, his solo on Kenny Loggins' 'Meet Me Halfway' still makes me sit up, wait and analyze what makes it tick.
As for the Manhattan Transfer tune, the poster laid out the credits. It IS Steve Gadd on drums.
Jay Graydon shines on that one too. Come to think of it, that solo sounds pretty much like what he did on the Dan's 'Peg.' He can get pretty wild with his bends. I remember seeing a Youtube vid of his where he was demoing a solo he did for some record, and through all of it, he plays with a really nice dirt tone. Can't recall what it was though.
Title: Re: That West Coast Sound
Post by: klause on October 03, 2013, 09:08:02 AM
You got a new toy! And it ain't even Christmas yet. :)
Dan Huff. To this day, his solo on Kenny Loggins' 'Meet Me Halfway' still makes me sit up, wait and analyze what makes it tick.
As for the Manhattan Transfer tune, the poster laid out the credits. It IS Steve Gadd on drums.
Jay Graydon shines on that one too. Come to think of it, that solo sounds pretty much like what he did on the Dan's 'Peg.' He can get pretty wild with his bends. I remember seeing a Youtube vid of his where he was demoing a solo he did for some record, and through all of it, he plays with a really nice dirt tone. Can't recall what it was though.
Hey Deac,
So! It's Huff on that KL hit. That is one bootiful line there - solo and outro. Honestly, I'm more bent to air guitar to this than shredfest numbers he he he.
My bad on the Gadd. Never read the notes. On Graydon, I've watched parts of the Youtube clips. It's amazing how these guys have developed the discipline to come up with 'swak' parts ano? The making of Peg just shows how involved Steely Dan were - must be aliens.
ST: deac and dannygatton, thanks for the inputs on this thread. It's nice to have a relevant place to go, PMwise. No more GC for me, I guess. Ha ha ha.
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 03, 2013, 02:25:49 PM
Hey Santa (Klause) :-D
Careful what you say. The GC police might be lurking around. Haha!
I must admit I haven't checked out GC for quite some time. I actually still spend more time at the classifieds.
The relevance of any thread all depends on the shared sentiments of its contributors, I suppose. Of course, it's always a bonus to learn something new from the discussion.
So, going back on topic, if there was a West Coast sound, could there have been an East Coast sound just as well?
Title: Re: That West Coast Sound
Post by: klause on October 03, 2013, 03:34:14 PM
Careful what you say. The GC police might be lurking around. Haha!
I must admit I haven't checked out GC for quite some time. I actually still spend more time at the classifieds.
The relevance of any thread all depends on the shared sentiments of its contributors, I suppose. Of course, it's always a bonus to learn something new from the discussion.
So, going back on topic, if there was a West Coast sound, could there have been an East Coast sound just as well?
Hey Deac,
Hahahaha! A variant of Cohen's Jazz Police?
Well honestly I've been there and out to check if tatablan pa ako ng GAS. :-D Sadly, mukhang wala nang fix. At wala ng pera.
BTT: Am not sure, but baka this is the key to the unseen 'division' between the areas? East includes NY - the 'hungri-er', 'raw-err' sound (of jazz) as opposed to the 'sunny' studio sound of L.A. isn't it?
They'd say West is smooth jazz, East is jazz' darker side - the avant garde, the experimental, the musos.
I may be wrong though.
Title: Re: That West Coast Sound
Post by: dannygatton on October 03, 2013, 03:48:10 PM
So, going back on topic, if there was a West Coast sound, could there have been an East Coast sound just as well?
EAST COAST Session guitarists: David Spinozza, Steve Khan, Cornell Dupree, Nile Rodgers, Elliot Randall, John Tropea, etc.
WEST COAST: Graydon, Lukather, Dan Huff, Landau, Carlton, Ritenour, etc.
STEELY DAN is east & west schizo; Fagen and Baxter are really from New York but made it big in sunny west coast. But it did not stop them from squeezing that New York dark wit, and Greenwich Village bop into their music.
N.B.. thanks deacon and klause for your insightful exchange. Yes G.C. is for kids, hehe.
Title: Re: That West Coast Sound
Post by: klause on October 03, 2013, 04:40:53 PM
EAST COAST Session guitarists: David Spinozza, Steve Khan, Cornell Dupree, Nile Rodgers, Elliot Randall, John Tropea, etc.
Oh, Spinozza was East? That's a whole lot there danny. I remember years ago I was on a personal hunt for the guitar player behind Sergio Mendes' "Love City" and some say its Spinozza, some say its Sembelo.
Well they say, if you can make it there (NY) you'll make it anywhere.
One guy who is also primal in that West Sound would have to be Lee Sklar - gets better every time.
And er, David Foster?
Title: Re: That West Coast Sound
Post by: dannygatton on October 03, 2013, 04:53:34 PM
Oh, Spinozza was East? That's a whole lot there danny. I remember years ago I was on a personal hunt for the guitar player behind Sergio Mendes' "Love City" and some say its Spinozza, some say its Sembelo.
Well they say, if you can make it there (NY) you'll make it anywhere.
One guy who is also primal in that West Sound would have to be Lee Sklar - gets better every time.
And er, David Foster?
James Taylor tapped a number of East Coast sessionists: Spinozza, Sklar, Steve Gadd. Paul Simon's 50 ways I think is also manned by East Coasters.
Speaking of which--Klause and Deacon, are there known Ilocano guitar players?. I was thinking of adding it to the West Coast, East Coast.... and Ilo-coast (hehe)
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 03, 2013, 06:35:46 PM
Ilo-coast! Hahaha! Nice one.
As for klause query about the 'Love City' guitarist (which is something I've been wondering about too. I've always thought it was Lee Rit), I tried Googling and found this:
Credits
Art Direction, Design – Tony Lane (2) Bass – Anthony Jackson, Donald Ballard, Michael McKinney*, Nathan Watts Congas, Percussion – Chacal Drums – David Hall (6), Ronald Ballard, Stephen Gadd* Engineer [Recording, Assistant] – Michael Ebert (2) Engineer [Recording] – Geoff Gillette Guitar – Michael Sembello Guitar, Electric Piano [Fender Piano], Producer [Assistant] – Oscar Castro Neves* Guitar, Saxophone – Hank Redd Mastered By – John Golden Percussion – Laudir Oliveira*, Sebastião Neto, Steve Foreman* Percussion [Brazilian] – Bibiu, Dico, Testa Photography – Reid Miles Piano [Acoustic] – Don Freeman Piano, Clavinet – Stevie Wonder Producer, Keyboards – Sergio Mendes* Synthesizer [Minimoog / Harp String] – Ian Underwood Synthesizer [Minimoog] – Cliff Coulter* Synthesizer [Oberheimer Polyphonic] – David Grusin* Trombone – David Stout Trumpet – Harry Kim Vocals [Singers] – Carol Rogers, Cruz Baca, Marietta Waters
So, going back on topic, if there was a West Coast sound, could there have been an East Coast sound just as well?
Wouldn't this more or less be representative of the CTI catalog from way, way back in the 70s/80s?
East coast, west coast...I miss this kind of music! Though you could still find them nowadays, it takes a bit more effort to find them not like before. Heck, a contemporary jazz station that kept me connected with the genre changed programming sometime during the past five years. If it's any consolation, I've been lucky enough to see Steely Dan (and their different iterations) live many times over the past two decades or so - Fagen and Becker, Fagen with Mike McDonald and Bozz Scaggs (Dukes of September), New York Rock and Soul Revue, etc.
Oh yeah, that Carolyn Leonheart is hot!
Title: Re: That West Coast Sound
Post by: klause on October 04, 2013, 09:08:31 AM
Hey Jaco,
I was mum about it, but since you did bring in the name -
Carolyn! :) I'm trying not to be distracted on that DVD.
Ilo-coast guitar players on Lo-Coast housings? he he he.
Hey Deac, thanks for the list. Yeah, its the CTI Catalog. As for the guitar player, my bet's on Sembello - Castro Neves, as far is I know does Brazilian stuff in nylon string. Will check on Hank Redd though.
Jaco, it must be a blast seeing the guys live. If there's one act I wish PIJazz could drag in, it would be them.
Sharing some random studio heaven:
Michael McDonald's "reverse" EP comp on "Minute by Minute"
Steve Gadd's double time insanity on "Aja"
Denny Dias on "Do it Again"
Every instrument on "Rosanna"
David Paich synth solo on '99'
Greg Phillingaines synth solo on 'One Hundred Ways'.
Man, what do these guys eat? :)
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 05, 2013, 02:00:12 PM
Well, well ... look who's here.
Welcome on board, Jaco!
Haven't seen you around for some time.
Is this turning into a Carolyn Leonhart appreciation thread? :)
Actually, that's the very first thing I noticed when I saw the early Dan reunion concerts.
She's a babe indeed!
Forget about Jon Herrington and all those aging rockstars :) :)
Klause, those are indeed priceless musical moments captured on vinyl.
I could come up with my own list, but that would take some time.
Keep em coming guys.
Title: Re: That West Coast Sound
Post by: klause on October 05, 2013, 04:40:20 PM
Indeed welcome, Jaco :)
Bad bad cameraman, must focus on...Caro..ling this Christmas.
A lot of great moments are found which made me wait for radio in that pre digital era. I remembered how Bob James and Klugh were staple music beds for sitcoms and ads.
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 05, 2013, 05:30:43 PM
Yeah bro!
I remember how Jean Luc Ponty's 'Egocentric Molecules' figured in a bank ad way, way back. Was it Banco Filipino? I can't recall now.
And while I'm not sure if it came from a smooth jazz ditty, I remember the John and Marsha soundtrack where it breaks into this Fender Rhodes solo. Haha! Who would've thought ...
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 05, 2013, 05:42:11 PM
Well, whaddaya know...
Turns out the John en Marsha theme song was actually a tune from Quincy Jones called 'Rubber Ducky.'
Geez, we learn something new everyday, huh?
"Kaya ikaw John ... " :-D
Title: Re: That West Coast Sound
Post by: dannygatton on October 06, 2013, 08:46:09 AM
How about "MICHAEL FRANKS"? His list of session musicians especially in his earlier albums are quite impressive. Sad to say that his artistry is identified with that sappy "Lady Wants to Know".
Self-titled 1st Album. Tommy Tedesco ART OF TEA & SLEEPING GYPSY • Keyboards – Joe Sample • Guitar – Larry Carlton • Alto Sax on "Monkey See—Monkey Do" and "Mr. Blue" – Dave Sanborn • Drums – John Guerin • Bass – Wilton Felder • Congas – Jerry Seinholtz • String arrangement – Nick De Caro • Tenor saxophone on "Jive" – Michael Brecker • Vibraphone – Larry Bunker BURCHFIELD NINES • Steve Gadd • Will Lee • Ralph MacDonald • Leon Pendarvis • John Tropea • Oscar Brashear • Bud Shank • Ernie Watts
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 07, 2013, 12:30:18 AM
I'd give props to Michael Franks for picking out the best of the best session guys for his earlier albums.
The interplay between these guys on 'Sleeping Gypsy' and 'The Art of Tea,' for starters, is a textbook example of great arranging, making it the perfect backdrop for Franks' dreamy vocals.
You can listen to each song again and again, yet focus on something specific each time. There's Guerin's lovely brush work, Joe Sample's bluesy piano fills, Carlton's sparse chordal stabs, and a whole lot more.
While I may agree that his songs do tend to lean more on the 'sappy' side, I wouldn't say that that put a lid on his artistry.
He's got a lot of memorable songs besides, most of which have stood the test of time.
And his prose? Wow, they're literary gems.
Who else can come up with something like: "Well my baby cooks her eggplant about nineteen different ways. Sometimes I just have it raw with mayonnaise."
Tunes like 'Eggplant,' 'Popsicle Toes' and who can forget that classic Carlton solo on 'Down In Brazil?
Title: Re: That West Coast Sound
Post by: dannygatton on October 07, 2013, 08:05:01 AM
I'd give props to Michael Franks for picking out the best of the best session guys for his earlier albums.
The interplay between these guys on 'Sleeping Gypsy' and 'The Art of Tea,' for starters, is a textbook example of great arranging, making it the perfect backdrop for Franks' dreamy vocals.
You can listen to each song again and again, yet focus on something specific each time. There's Guerin's lovely brush work, Joe Sample's bluesy piano fills, Carlton's sparse chordal stabs, and a whole lot more.
While I may agree that his songs do tend to lean more on the 'sappy' side, I wouldn't say that that put a lid on his artistry.
He's got a lot of memorable songs besides, most of which have stood the test of time.
And his prose? Wow, they're literary gems.
Who else can come up with something like: "Well my baby cooks her eggplant about nineteen different ways. Sometimes I just have it raw with mayonnaise."
Tunes like 'Eggplant,' 'Popsicle Toes' and who can forget that classic Carlton solo on 'Down In Brazil?
In the "Art of Tea"--the sessionists really were a band, the Jazz Crusaders--thus the chemistry and tightness, as you said a perfect backup for M.Franks poetry. I read somewhere that M. Franks has an M.A. Literature, and taught poetry thus the lyricism in tunes like 'Eggplant'. Yes, I still enjoy playing Carlton's chord-changes in eggplant. But the band swings best in Frank's "Don't be Blue." In "I Don't Why I'm So Happy-Sad" --love them clean 335 tone, yummy.
Title: Re: That West Coast Sound
Post by: klause on October 07, 2013, 08:57:36 AM
Turns out the John en Marsha theme song was actually a tune from Quincy Jones called 'Rubber Ducky.'
Geez, we learn something new everyday, huh?
"Kaya ikaw John ... " :-D
Hey coasters,
Been out for the weekend. It's great to see Franks' catalog crop up in the thread. That is also a personal favorite which contains countless gems. You guys also mentioned one thing that I just have recently noticed - Yeah, these are the Crusaders!
A little confession: I've been on a personal pursuit to woodshed Carlton's take on 'Down In Brazil' since, well college. I won't tell how long that has been - ha ha ha! But until now, I have not finished it. Put it together with Grant Geissman's phased out 'Feel So Good' part. Maybe this year, maybe next year - maybe never.
Franks' poetry is surely way up there, bar none.
Here's a 'Frank' question: You guys familiar of a local instrumental adaptation (kinda' whistling melody) that comes close to Michael Franks' Vivaldi's Song?. I'm sure I heard that somewhere as a kid listening to AM radio and dramas while playing tatsing.
As to the topic on music beds, Rubber Ducky is originally on the movie "$ (dollars)" with Goldie Hawn. I erroneously thought it was Dan Elliot, but Jones indeed.
Hanganda ng Rhodes talaga naman! :drool:
I also remember that Egocentric Molecules ad, and the same track was also later used for Firestone's 'Firehawk' tire ad. Another TV ad also used Bob James' 'Touchdown'.
Here's a few more to kick the week:
Goin/Bad Bananas with Style Council's Mick Blessings from the album Cafe Bleu: a great lesson on dom7ths and N'awlins piano:
If you guys remember NBC (Nation Broadcasting Company) in the 70s -80s, this track's highly recognizable: Session heavyweights M.F.S.B's Love is the Message:
ST: Reading your posts takes me back to a familiar zone: feels like reading the articles and journalism whatnots on Jingle mag. Yeah. :)
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 07, 2013, 08:22:47 PM
Hey Klause!
There's actually a downloadable PDF transcription of the 'Feels So Good' solo on Grant's website (www.grantgeissman.com).
Hope that helps you in your quest.
As for the 'Down in Brazil' solo, there are quite a few Youtube vids of guys copping that.
+1 on the Style Council 'Mick's Blessings' tune. That sure sounds very N'awlinish.
I don't quite remember what you were saying about the instrumental version of 'Vivaldi's Song.'
You seem to have a pretty good memory bro. I don't recall that Firehawk tire ad. Maybe if I see it.
Yup, nostalgia is indeed a safe haven for some :-)
Title: Re: That West Coast Sound
Post by: klause on October 08, 2013, 08:46:52 AM
I don't quite remember what you were saying about the instrumental version of 'Vivaldi's Song.'
You seem to have a pretty good memory bro. I don't recall that Firehawk tire ad. Maybe if I see it.
Yup, nostalgia is indeed a safe haven for some :-)
Okay here's the R-18 details ha ha ha, I'm not sure - but that 'instrumental version', as I've heard some adult guys sing, seems to be from some 70s Pinoy Adult Film. Now, I'm not really comfortable with the idea of having to google some [!%$] stuff for the info quest. Ha ha ha :-D
Thanks for the link! I'll get to that Geissman solo in a week.
At this point , all inputs have brought one clear thing - its the people- the musicians and producers that define the sound as opposed to having a template of the "west/east" sound.
Much like Charlie Parker would always sound like Parker either with an orchestra or a quartet.
I was listening to Collins-era Genesis this AM, and despite being lumped in the same category - AOR and Soft Rock - it just doesn't sound like it. Or say, Supertramp or 80s Starship. It rocks, but that's where it is more rooted - rock.
Speaking of Gadd, anybody who has a copy (or listened to the whole album) of The Gadd Gang with the track "Strength" on it?
Title: Re: That West Coast Sound
Post by: Jaco D on October 09, 2013, 09:40:53 PM
Hey Tinns, long time no chat! Yeah, it's been a while - the usual "work gets in the way of life" case here.
Call it a nice coincidence that this thread came up just when my niece was asking me "what we listened to when we started getting musically conscious". Apparently she's realized (her words not mine) that the current stuff she hears is so "meh". Very mechanical daw, no artistry. Just to whet her appetite, I lent her my copy of David Garfield's "Tribute to Jeff Porcaro" for a representation of how things were musically back in the day. That was a few weeks back. Now, whenever her folks visit my place she's always camped out in my library/practice corner going through my iPod/CD library. Lately she's been surfing the web looking for current acts who have "carried the torch" for the stuff we listened to back then. I'd love to sit down with her to see what she has found. Maybe one of these days.
Title: Re: That West Coast Sound
Post by: 3650guy on October 10, 2013, 12:30:57 AM
...hey I am a refugee from the pogi jazz thread - can I come in?....
yup I've also wondered about that love city intro. it was studio slick.
I have always like Dan Fogelbergs "Heart Hotels" specially that synth solo emulating a sax sound, only to find out that it was Tom Scott playing a lyricon.
yun lang muna.
Title: Re: That West Coast Sound
Post by: dannygatton on October 10, 2013, 07:01:12 AM
Welcome 3650 guy. Your Jingle mag avatar is cool. Just like what Klause said-- our posts in this thread feel like reading articles from Jingle mag. Join in ...
Title: Re: That West Coast Sound
Post by: klause on October 10, 2013, 09:16:09 AM
Welcome 3650 guy. Your Jingle mag avatar is cool. Just like what Klause said-- our posts in this thread feels like reading articles from Jingle mag. Join in ...
Right on danny,
Well well, 3650 and Jaco ha ha ha! Welcome. Just for info, allow me to introduce myself, a man of wealth...naah. I used to carry the handle Nancy Brew and accidentally locked myself out of my own account (how techie can you get?)
I remembered that Pogi Jazz thread! Jaco, as for your niece starting to dig, that's great - fruits don't fall far away from the tree indeed. :)
Heart Hotels, yeah! The song captures that feel, very much like driving home after a long day. And his tenor sax solo on Rod Stewart's "Do Ya Think I'm Sexy?" kills.
Title: Re: That West Coast Sound
Post by: 3650guy on October 10, 2013, 12:30:17 PM
thanks danny and klause (he he your former avatar was pong pagong) and tinnie.
there is a fb group for jingle mag which I created, un nga lang puro scanned pages he he.
anyway lots of things here to talk about...
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 10, 2013, 02:27:43 PM
Hey, hey, hey!
Look who's where?
Birds of the same feather, no less. Haha!
Crank up the amps, bring out the beer!
And roll out the ...
What do we roll out? :-D
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 10, 2013, 02:35:20 PM
Hey Gab!
Yeah, good to hear from you man!
Are you still in Toronto?
How are things back there? It's good that you're carrying the torch for our generation's music. Haha! Why does that make us sound like old geezers?
Well, at least, your niece is blessed with better tastes and more discerning ears.
Carry on, carry on.
How's bass life?
And let's hear those nostalgic stories, for old time's sake.
3650guy, are you still playing keys? What happened to your band?
Did Wendell text you about his birthday jam?
Title: Re: That West Coast Sound
Post by: 3650guy on October 10, 2013, 06:30:57 PM
3650guy, are you still playing keys? What happened to your band? still playing with the moonstrucks for a bout 2 years now. twice a month at rj - I am a golden boy now so this means retro/soul music. he he.
Did Wendell text you about his birthday jam? yup on the 20th.
Why did bass take a backseat when you began your solo career?
There were several reasons, which tie in to why I left Chicago. As I mentioned, I was already uncomfortable with my playing in the studio. Plus, there was a growing faction of the band that wanted to be a jazz group—even though none of us were jazz musicians. I always felt we were a song band. When some of the more ambitious material fell short, and a ballad I contributed, “If You Leave Me Now,” became a No. 1 hit, that widened the chasm. I got pigeonholed as the soft-rock ballad writer, even though ballads weren’t the only thing I was writing.
What do you guys think? :)
Title: Re: That West Coast Sound
Post by: Deacon Blues on October 18, 2013, 04:37:01 PM
Hey bro!
Funny you mentioned that 'Touch and Go' song...
I was wondering about that myself.
That's a fave from way, way back, and when I listened again to it recently, that's when I noticed the amazing bass lines.
Galing, diba?
Some guys could probably accuse him of laying too busy a bass line here and there, but I love how he fills up the spaces during the gaps between the verses.
I'll try googling that again ...
Title: Re: That West Coast Sound
Post by: klause on October 18, 2013, 04:46:50 PM
Hey Deac,
Yeah, kind of busy - very 70s nga ('yan ba ang flatwound sound?), always that almost double time feel that goes well with Rhodes, a monosynth hook and nice string arrangements.
The late Mang Roger Herrera always comes to mind pag naririnig ko ang ganyang lines - like Basil's "Kay Ganda ng Ating Musika". Whew.
Title: Re: That West Coast Sound
Post by: klause on October 18, 2013, 04:48:29 PM
Karukas, Valentine, Phillips, Shcreuders and Paulo sounds too good to stay away from.
Title: Re: That West Coast Sound
Post by: klause on July 30, 2014, 03:27:20 PM
I was doing the dishes and "Should We Carry On" by Airplane plays on the radio.
I remembered this thread, and a thought crossed my mind.
Another sure mark of the sound came from the producers. Jay Graydon, Peter Asher, David Foster, etc. sure knew how use clever arrangements and colorful patches.
Some of the chord cycles were the usual pop ones, but the chord substitutions (from the jazz world) made the difference.
Title: Re: That West Coast Sound
Post by: klause on March 13, 2015, 09:00:54 AM
Hey. Here!
TOTOXIV with David Hungate, Steve Porcaro and Michael McDonald. :drool: