Vol. 4, No. 15

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Contrabass-list Tue, 21 Oct 1997 Volume 1 : Number 15

In this issue:

Date: Mon, 20 Oct 1997 17:09:05 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: AOL Instant Message

OK, I've set up a copy of AOL's Instant Message, for anyone who's interested. It sounds like a cross between email and "chat", with the advantages that (1) it tells you when someone is online and available, and (2) it is quick. The application itself is free, and available for download at http://www.aol.com/aim . People are identified by AOL-type "screen names". Mine is "sarrusofon" (you're limited to names of 3-10 characters, and contrabass was already taken). Feel free to look me up if you like.


Date: Mon, 20 Oct 1997 22:56:41 -0400
From: JimKatz@JohnAbbott.qc.ca (Jim Katz)
Subject: Re: contrabass-list V1 #14

> is of interest to those on the list and
>especially the person who was asking about low bagpipes.

>Francis Firth

Thank you very much for the information.

Another bagpipe thought, though this is a general technical-philosophy question: I was watching a player of the beautiful Uilleann pipes, and notice the great difficulties that the design of these pipes presents to the musician. Accompaniment chords can be played on the three regulators, which are accessory pipes arranged on the player's lap with up to fifteen keys. They are played with the side of the right hand on which hand the fingers are flying over the chanter holes at the same time. Essentially this is a primitive keyboard. Should the instrument not benefit by modernizing and perhaps making hand or foot operated keys that are more accessible? Or is there something sacred in the original design of an instrument? (Pedal Bagpipes sound like a cool idea to me....)


Jim Katz
292 Senneville Road, RR1
Senneville, Quebec
Canada, H9X 3L2

Date: Mon, 20 Oct 1997 22:56:52 -0400
From: JimKatz@JohnAbbott.qc.ca (Jim Katz)
Subject: cleaning keys


I've always wondered about cleaning the keys on my bassoon, and finally came to the conclusion it was not a priority. I checked out the bassoonists (with binoculars) in professional orchestras, and got the impression that some cleaned, some did not, and some had replating jobs done every few years.

By contrast flute players were all very fussy about shiny instruments, while brass players were all over the lot, with most sporting a moderate patina like a two-day growth of beard, some nearly turning green, but a few looking like the player had a staff of sailors fresh off deck duty waiting in the wings to rub his brass.

Jim Katz jimkatz@johnabbott.qc.ca

Date: Mon, 20 Oct 1997 22:56:47 -0400
From: JimKatz@JohnAbbott.qc.ca (Jim Katz)
Subject: Blatweasel

blatweasels, but I have no idea where the term came from.

This is almost certainly corrupted from German, but none of my (non-musician) German friends have any further guesses,

Date: Tue, 21 Oct 1997 13:02:10 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: Attention all Bluiett fans...

I just ran across another CD that includes Hamiet Bluiett, including one track which credits him with "contra-bass clarinet". I assume this is his favorite, the Eb contralto, but can't really tell from the track.

The CD is Don Braden "the voice of the saxophone" (BMG 1997, 09026 68797-2), and has Don Braden (tenor, flute); Vincent herring (alto, flute); HB (bari, "contrabass" clarinet, clarinet); Randy Brecker (tpt, flugelhorn); Frank Lacy (trombone); Darrell Grant (piano); Dwayne Burno (acoustic bass); Cecil Brooks III (drums); and on one track, Bill Cosby on cowbell and timbales. The tracks are:

Great, straight-ahead jazz, and very listenable. "Speak No Evil" is the track that uses contra. It can be heard in the intro and the bridge - not a very prominent part, but definitely present. I've been listening to it all morning :-)Grant

End of contrabass-list V1 #15

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