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John Lee Hooker comes to mind. Fred's playing on this recording is what trombone funk is all about. Laughter, amazement, bafflement, respect, derision, joy followed. Lastly, when Wesley performs this tune live, he usually plays this first section similarly to how it appears on the recording.

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Whether this was intended or a "happy accident" during the recording is not important. Already, Wesley is using four-bar phrasing and colors it with a call-and-response approach. John Lee Hooker comes to mind. Published by Duke University Press. Therefore, this "mini-solo" must be institutionalized. In bars , he uses the shifting third to the fifth, C-C -E, to invoke the southern country-blues sound Wesley is from Alabama. Leave this field empty if you're human.

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Nonetheless, limitations like that would make great art. Already, Wesley is using four-bar phrasing and colors it with a call-and-response approach. Maybe we are just developing a language to make each other laugh. This is what my whole hip-hop project is about — to build songs out of nothing but Fred Wesley licks looped over and over, maximum musical pleasure and transparency, but with enough dissonance and sense of surprise to keep it tense. The band returns back home to D minor and Fred is let loose to do his thing.

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Description: As far as we can tell, they have no ties to Mount Carmel or any of the subdivisions they were in. Ethan Hein April 5, at He mostly plays around a major pentatonic scale with the added flat seventh. Kevin Ewing had charged the four men — ranging in age from 18 to 20 — with 12 counts of vandalism. It was more amusing than anything else dramatic. Already, Wesley is using four-bar phrasing and colors it with a call-and-response approach. When I play with him I am reminded of this and try to form my solos in a similar manner. An easy way to imitate his sense of swing is to accent the last sixteenth-note of a beat one-ee-and-AH. Had we corrupted and polluted the solos of a fine bass player.
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