On Thursday, January 24, 2019 at 9:58:20 AM UTC-5, decap...@yahoo.com wrote:

On Tuesday, January 22, 2019 at 1:37:04 PM UTC-8, van wrote:

On Tuesday, January 22, 2019 at 12:12:46 PM UTC-5, Tony DeCaprio wrote:

On Sunday, January 20, 2019 at 11:16:44 AM UTC-8, van wrote:

On Thursday, January 17, 2019 at 1:31:33 PM UTC-5, van wrote:

On Thursday, January 17, 2019 at 1:02:22 AM UTC-5, Gerry wrote:

On 2019-01-17 05:27:00 +0000, DaSilva said:

I've always felt Peter Sprague should be a lot more famous than he is.
I"ve seen him in concert a couple of times, he's brilliant.

His take on Here, There & Everywhere is really tasty, in my opinion.

https://www.youtube.com/watch?v=44Kr5hojEm0

Peter lives near hear in San Diego. He is an artist of seemingly unlimited scope. I sometimes wonder at his diminished exposure nationally and sort of concluded that he decided many years ago to live
a quiet life in music and avoid the noise and misery of touring and
promotion and all the rest.

He is a fantastic player...

Yeah, Peter's a great player, and a very cool guy. I 'spoke'with him online, and he was very helpful.I've bought all his records, and they're pretty unusual. They seem more spiritually oriented than straight-ahead jazz, kind of in the Coltrane

bag, but on the records I've got where he's a sideman, he can play straight-ahead stuff with the best of them.he plays a lot of acoustic guitar on them.

I just bought one he did with Bill Mays, Bob Magnusson and Jim Plank in a band they called Road Work Ahead named "Night and Day' that I'm looking forward to listening to.

He doesn't play notes on two adjacent strings that are on the same fret using the same finger on his LH, because it sounds too muddy. He uses a different finger for each of the notes.
So when he plays fourths on two different strings, he'll never use the same finger to play them. The same thing with major thirds on the G and B strings.
He does a lot of production work for different artists in Spragueland, his own studio.
His main influences are Trane and Chick Corea.

I'm interested in what people think of Peter's method of fingering.
Is it worth abandoning the technique of 'rolling' one finger, or barring it to play lines with fourths or even minor 7ths so that the notes won't run into each other AND so that you don't "ground yourself in that area. The fingers and the whole

hand position have much more strength when they are in an arched position, compared to when thry are flattened down".

He advises to "Keep fingers on their tips" at all times", when playing single lines.
Does this make a difference to you when you hear a player NOT do this, as opposed to following PS' fingering method.
I was discussing this on another website and someone sent me an entire re-fingering of "Freedom Jazz Dance" using PS' method of fingering it.
I'll try to post it here, if I can overcome my incredible incompetence at doing such things...;')

I prefer utilizing both ways. Choosing one way ("as way") can limit certain forms of outcome. The matrix of fingerings-to-aural-yield outcome can be vast. Certain wanted phrasing lends itself to barre and certain forms to "tips." Personally, I

favor non barring, but not religiously so.

Yeah, there are some times when this is really helpful- Playing the head to FJD without having to worry about notes being held too long, and PS seems to be right in some situations about letting your hand get locked into one position, especially at

fast tempos.

Another 'key' factor is in the quantum of ambidextricity. Some players have an advantage, some fall victim to the possible perils of genetics. A great deal of control and agility is achieved from a young age, as we are all well aware. While books and

methods and various pedagogical forms will help facilitate most anything, there remains no one size fitting all. Then there are some people capable of overcoming all odds. Those are the (my) heroes...


Yes to all. I first heard him in Bob Mover's group in like '77, at the old Sweet Basil and on Bob's record. He had a lot together---at the tender age of 21. You don't get up there with Tom Harrell---who was just SMOKIN' then (in Bob's same group was
where I first heard him too, after Bob signified to me about him)---and half or even three quarter step. I heard some pretty recent things too. What is it about California? Him; Anthony Wilson; Larry Koonse; (elder statesman) Ron Eschete? Like, jeez. I'm
not all that into the guitar or being ghettoized by any instrument in the sense that it can be a trap--you dig? But these MFs---they're MUSICIANS---of a damn high caliber. Peter Sprague: you GO, guy...

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