11-25-2014, 06:45 PM,
(This post was last modified: 11-26-2014, 03:43 AM by Tusk.)
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Tusk
jonesing for some Gingerbread Cake
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Posts: 12,198
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Joined: Mar 2012
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RE: I'm Casey and I just got signed.
Baby Steps..... 
Though, truthfully, I get a feeling we won't be seeing Haley up here any time soon, I get the feeling if there is a tour, it will be smallish, and focused on the Major Cities on the West and East Coast with a sprinkling of Central cities in between. I have a feeling the closest she'll get to the NW would be "Northern" California
Just Announced, a venue I've hoped they would be in  
Quote:Casey Abrams @CaseyBassy 1m1 minute ago
♫ Just Announced: Seattle, WA - Jan 25 at Triple Door http://www.bandsintown.com/event/9016486...e_from=217 …
The Triple Door
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11-28-2014, 01:12 AM,
(This post was last modified: 11-28-2014, 01:50 AM by Tusk.)
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Tusk
jonesing for some Gingerbread Cake
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Posts: 12,198
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Joined: Mar 2012
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RE: Connections -- Haley's Musical Buddies
A little peek into Casey's brain. The first half of the Interview is the best part....
I have found myself really enjoying the note choices on his bass in his performances with Haley at Room5. Recently, there have been another cycle of complaints about Casey being a distraction or a detriment to Haley or the enjoyment Haley. I guess I'm lucky that I really, really enjoy his musical risks/choices. I admit, there are times when they go disastrously wrong, but more often than not, when he "hits", it sends the performance into a different stratosphere, great to epic. I guess my opinion is, if he isn't allowed to make 'mistakes' or be out of the box, he might also not have those special, highlight moments either. Casey provides the Yin to Haley's Yang.
The interviewer asked Casey what his favorite chord, right now, is? Casey's answer is, "I like weird... I like "sharp 9 chords(??), the 'Hendrix Chords'" then proceeds to explain it in regards to Jimi Hendrix' chords in "Purple Haze".
Anyway, been watching AATB and "Cry Me a River" from Room5 just to listen to Haley's Bass playing. There are 'off' notes that he plays throughout both performances that sound 'wrong' but also fell right. I don't have musical reference to use the right syntax to describe it, but, to those musically inclined.... is what I'm hearing, the "sharp 9 chord" that he's referring in the interview?
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11-28-2014, 01:33 AM,
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Tusk
jonesing for some Gingerbread Cake
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Posts: 12,198
Threads: 228
Joined: Mar 2012
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RE: I'm Casey and I just got signed.
"Never Knew What Love Can Do" at Room5
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11-28-2014, 06:07 AM,
(This post was last modified: 11-28-2014, 10:38 AM by midnightblues.)
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midnightblues
Jaw bone Annie
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Posts: 3,444
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RE: Connections -- Haley's Musical Buddies
(11-28-2014, 01:12 AM)Tusk Wrote: A little peek into Casey's brain. The first half of the Interview is the best part....
I have found myself really enjoying the note choices on his bass in his performances with Haley at Room5. Recently, there have been another cycle of complaints about Casey being a distraction or a detriment to Haley or the enjoyment Haley. I guess I'm lucky that I really, really enjoy his musical risks/choices. I admit, there are times when they go disastrously wrong, but more often than not, when he "hits", it sends the performance into a different stratosphere, great to epic. I guess my opinion is, if he isn't allowed to make 'mistakes' or be out of the box, he might also not have those special, highlight moments either. Casey provides the Yin to Haley's Yang.
The interviewer asked Casey what his favorite chord, right now, is? Casey's answer is, "I like weird... I like "sharp 9 chords(??), the 'Hendrix Chords'" then proceeds to explain it in regards to Jimi Hendrix' chords in "Purple Haze".
Anyway, been watching AATB and "Cry Me a River" from Room5 just to listen to Haley's Bass playing. There are 'off' notes that he plays throughout both performances that sound 'wrong' but also fell right. I don't have musical reference to use the right syntax to describe it, but, to those musically inclined.... is what I'm hearing, the "sharp 9 chord" that he's referring in the interview?
It is common to use 9Th cords in Jazz But in playing the bass there is more single notes played than using cord progressions ( notes A B C D E F G ) That make up the scale , than it starts to gets real complicated 
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11-28-2014, 09:06 AM,
(This post was last modified: 11-28-2014, 09:10 AM by Miguel.)
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Miguel
Moderator
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RE: Connections -- Haley's Musical Buddies
There is much discussion of "the Hendrix chords" on the Internet. Though I don't know how to read music, I found these comments to be interesting:
Quote:Another cool thing about the Hendrix Chord is that he used it as the I chord in both Foxey and Purple. For me, that is what makes it the "Hendrix Chord" as opposed to an extended V chord (as a 7#9 chord usually functions as in jazz harmony).
Quote:IMO the original comment that "the "Dominant" part has to do with a progression" is correct. "Dominant", traditionally, refers to the V degree of a scale and chord built on it - and implying a function of tension resolving to the tonic.
That's how 7#9 chords are (mostly) used in jazz: as V7 chords, usually in minor keys. IOW, E7#9 would resolve to Am. The #9 is an alteration, and the chord might also feature an altered 5th (b5 or #5). (In fact the symbol "7#9" generally implies an altered 5th to a jazz player, at least if the chord is a V chord.)
That's not how the "Hendrix chord" is used. That usage of a 7#9 is a blues tonic chord, not resolving anywhere (as Robert is demonstrating). The #9 is the blues b3 of the key, so the chord contains both ends of the spectrum of the movable "blue 3rd" - rather in the way a blues pianist "crushes" both notes together to get a semblance of the "in-between" blue 3rd. The chord would have a perfect 5th, not an altered 5th.
Of course, as FatJeff says, the word "dominant" has come to refer to that chord type (major 3rd, minor 7th) even when it doesn't have a dominant function. As in blues, or mixolydian jazz or rock.
The "Hendrix" usage also occurs in jazz (so Jimi didn't invent it!), eg in Kenny Burrell's "Chitlins Con Carne" (a blues in C, using C7#9), later covered by SRV.
And this:
Quote:Of the myriad contributions Jimi Hendrix has made to the lexicon of modern guitar, one of the most enduring is the legendary “Hendrix chord."
The chord, an E7#9, was definitely nothing new when Hendrix famously used it in “Purple Haze” (Jazz and R&B guitarists used it extensively, and the Beatles featured it years earlier on “Taxman”), but its use by Hendrix inspired its use by generations of guitarists in a wide range of styles.
Example 1 is the most famous fingering of the “Hendrix chord," though Hendrix and many others would often also use the voicing found in Example 2.
Note that the #9 (in example 2) is the enharmonic equivalent of the minor 3rd, so the chord can be seen as just a comfortable fingering that consists of the root, flat 7, and both the major and minor 3rds.
This major/minor ambiguity makes the chord perfectly suited for the blues, while using it as a substitution for the V chord in a key can help lend a jazzy feel to a turnaround (Stevie Ray Vaughan often used it in this manner).
http://www.guitarworld.com/guitar-streng...drix-chord
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LOL!
