The Rub Factor

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

Moderators: bobappleton, sandywilliams

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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

The Rub Factor

Postby sandywilliams » Sat Nov 08, 2008 11:27 am

I have a title for my first album, ‘The Rub Factor’. Now I have to write it.
I thought I’d start a new thread based on rubs. Maybe we could list some of our favorites. I think the opening trombone line in Tell Me a Bedtime Story ranks at the top of the list. The way Herbie fits a G# over a Gmaj7 is brilliant. Also the line in Cantaloupe Island over the Dmi chord, C,Eb,C,Eb, F is also a fav.
The rubs seems to usually work because of how VTG and HTG are interacting in the moment.
BTW John Beasley’s tune Bedtime Voyage from his new CD Letter to Herbie is a very clever combination of Tell Me a Bedtime Story and Maiden Voyage.
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Postby sandywilliams » Sun Nov 09, 2008 6:58 pm

I ran into Oliver Nelson Jr. at a gig this week. What a nice man! Reminds me that the ascending descending section( starting in the 9th bar of the head) of Stolen Moments had some great RF.
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Postby dogbite » Mon Nov 10, 2008 12:57 am

"A short comment: In the years following Bird's death the pundits began to write books on the new music. What they did was to analyze Bird's lines and harmonize them with the implied harmonies rather than the actual harmonies (there's still some of that around today). By doing so, they were in essence neutralizing the "rub" which was the cornerstone of the new music. The very best "rubs" are not telegraphed by the harmony but present as a tantalizing surprise just like a cherry in a fruit salad."

tell me mother, are the changes written in the omnibooks actually the actual harmonies?

db
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Postby dogbite » Mon Nov 10, 2008 4:17 am

thanks for the background mother - i started with a yes or no question and if you had left it at that, i would have nothing at all. the landscape with which all this takes place is essential for any kind of understanding, and thanks for the compliment: "real musician"??? nah, this dog's just a pup in training wheels, and always will be...

tomorrow i'm gonna play through those omnibooks and see what i can see, and hear what i can hear, at perhaps one quarter to one third of the original tempos :|

thanks again,

db
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