Thanks, everyone, for the serious listening.
Oh, that tambourine -- After the mix was finished, I added a tambourine track, thinking, "what harm could I possibly do?" Now I know. It sounds like the devil and it is on that Drooble mix until a remix is posted. David: some of that fuzz and reverb is coming from the Strymon Blue Sky, which I am just getting used to, and a general dead spot in my hearing or the recording equip I'm using. A constant work in progress. Tano: the Fusion Project is my academic name for I am listening to a lot of 19th-century Pentecostal hymns and African American spirituals from the same period. As we know from historic anecdote, the two influenced each other for many years before getting out of the deep south and into the mainstream in the form of Jazz and popular music, Chicago blues, Rock 'n Roll, Black and Country Gospel,
New Orleans music, and many other genres, including mainstream and black fundamental revival music. Thomas E. Dorsey was a barroom piano player. Elvis Presley grew up with gospel quartets. Then, there is Jerry Lee.
Basically, I am listening, then synthesizing, or trying to. As I work with these songs, though, I become blessed with a deeper understanding of how the early musicians worked -- what they had to work with and what they made of it. Most could not read, like the famous Hymnists of the 19th century, some of whom were actually quite scholarly, but they created a musical art form that had great power. I've always been something of a snob about Pentatonic scales, thinking, "why?" I'm developing something of an understanding of abbreviated scales. When we strip Band-in-a-Box down to basics, the sounds of the chord progressions become pre-eminent, do they not? While Bach and Beethoven clearly understood chord progressions, old-time gospel dwells on them. Of course, Bluegrass, Celtic, and Folk fit in, too.
I know, you didn't ask for a boook.

Last edited by edshaw; 11/21/20 02:16 PM.
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