{"id":2029,"date":"2015-11-16T17:38:04","date_gmt":"2015-11-16T17:38:04","guid":{"rendered":"http:\/\/www.kontrabassblog.de\/?p=2029"},"modified":"2015-11-16T17:38:04","modified_gmt":"2015-11-16T17:38:04","slug":"red-mitchell-joel-quarrington-und-die-quintstimmung","status":"publish","type":"post","link":"https:\/\/www.kontrabassblog.de\/?p=2029","title":{"rendered":"Red Mitchell, Joel Quarrington, und die Quintstimmung"},"content":{"rendered":"

Joel Quarrington\u00a0ist der wohl bekannteste\u00a0Quintstimmungs-Bassist der Gegenwart. Als Pionier der Quintstimmung gilt aber gemeinhin der Jazzbassist Red Mitchell, den Quarringon auf seiner Website w\u00fcrdigt. Dort hat er\u00a0\u00a0Ausz\u00fcge aus Gene Lees Buch\u00a0\u201cCats of Any Color: Jazz Black and White\u201d<\/a> (Da Capo press 2001) ver\u00f6ffentlicht.\u00a0Sehr lesenswert!<\/p>\n

\u201cWhen I made the change in \u201966, I took my second wife and her son down to the beach near San Diego and practiced for nine days around the clock over the sound of the surf. There\u2019s a motel that goes right out over the surf.\u201d (Red\u2019s brother has an interesting comment on this transition in Red\u2019s life and work. \u201cBy begging, lying, and cajoling,\u201d Gordon said, \u201cRed created a ten-day gap in his schedule, went to that motel, restrung his bass, unlearned the old system, invented a new one, learned it, and went right back into the studios ten days later as if nothing had happened. Astonishing! It\u2019s like learning oboe over the weekend.\u201d)<\/p>\n

\u201cLegend always had it,\u201d I told Red, \u201cthat you changed the tuning and played a gig two days later.\u201d<\/p>\n

\u201cThat\u2019s a little exaggerated,\u201d Red said. \u201cIt was nine days. I came back to Los Angeles, and the first job I worked with the bass now tuned in fifths was with Andr\u00e9 Previn. I was playing first bass with sixty-five men at the Sam Goldwyn studio. I figured: Okay, Andr\u00e9 Previn with a big orchestra. If I can fool Andr\u00e9, with his elephant cars, I can fool anybody. I didn\u2019t tell Andr\u00e9 I was doing anything different. About twenty minutes into the ses\u00adsion, I made a gross mistake. I pushed my finger down on the first string, and it would have been right if I\u2019d had a G string. But it was a whole tone high. Andr\u00e9 stopped the orchestra. He didn\u2019t usually do that. This time he looked over at me and said, \u2018Red, really. If it weren\u2019t you, I\u2019d say that note was out of tune.\u2019<\/p>\n

\u201cI said, \u2018Thank you, Andr\u00e9, it was a whole tone out of tune. It will happen again, and I\u2019ll explain to you on the break.\u2019<\/p><\/blockquote>\n

Ebenfalls lesenswert: Joel Quarrington hat seine t\u00e4glichen \u00dcbungen (Daily Exercises)<\/em> als PDF und als Apple iBook (inkl. Videomaterial)<\/a> ver\u00f6ffentlicht \u2013 in jeweils einer Version f\u00fcr Quartstimmung und einer f\u00fcr Quintstimmung (wobei letztere\u00a050 Cent g\u00fcnstiger ist als die in Quartstimung \ud83d\ude09<\/p>\n","protected":false},"excerpt":{"rendered":"

Joel Quarrington\u00a0ist der wohl bekannteste\u00a0Quintstimmungs-Bassist der Gegenwart. Als Pionier der Quintstimmung gilt aber gemeinhin der Jazzbassist Red Mitchell, den Quarringon auf seiner Website w\u00fcrdigt. Dort hat er\u00a0\u00a0Ausz\u00fcge aus Gene Lees Buch\u00a0\u201cCats of Any Color: Jazz Black and White\u201d (Da Capo press 2001) ver\u00f6ffentlicht.\u00a0Sehr lesenswert! \u201cWhen I made the change in \u201966, I took my second … Read more Red Mitchell, Joel Quarrington, und die Quintstimmung<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10,11,9],"tags":[],"class_list":["post-2029","post","type-post","status-publish","format-standard","hentry","category-jazz","category-klassik","category-musik"],"_links":{"self":[{"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=\/wp\/v2\/posts\/2029","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2029"}],"version-history":[{"count":1,"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=\/wp\/v2\/posts\/2029\/revisions"}],"predecessor-version":[{"id":2030,"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=\/wp\/v2\/posts\/2029\/revisions\/2030"}],"wp:attachment":[{"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2029"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2029"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kontrabassblog.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2029"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}