As far as Miles goes and speaking from the perspective from being a Trumpet  player my self as well  I prefer his playing on the first  So Whatas posted by Hal (post #263).  The second So What as posted by darkstar01  (Austin )had Ron Carter really driving this up tempo version hard while remaining articulate as is his reputation to do such.  Miles however did not sound to me like he was having one of his best days. His articulation is no where near the first example  posted in my opinion. I also prefer his tone in the prior one.  Both bands have strong points . We all have our opinions and our own criteria . As a whole I like the first one .

personally, I like miles' playing more when he's less articulate. at much as he would deny it, he was definitely starting to be influenced by guys like ornette and don cherry(my favorite trumpet player) - especially with shorter and Tony Williams around. but to me, that band isn't about miles, it's about the rhythm section. and Wayne wrote most of the tunes (not So What obviously). but yeah, to each their own. I just like to hear miles stretch out more. kind of like how Coltrane is God as far as I'm concerned, but his stuff before the quartet doesn't do nearly as much for me.

Kenny Garrett is my modern favorite Alto Sax player.
 
Kenny was hand picked by Miles, before Miles said goodbye...  
 
Peace and Love,
 
Hal

I am certainly in agreement that the rhythm section in the band with Ron  Carter  on Bass really cooks !  And Wayne is scrambling the eggs into a tasty treat,  I really like Wayne In his 1965 Blue note release 'The all seeing eye
http://en.wikipedia.org/wiki/The_All_Seeing_Eye

I had the amazing privilege of studying with Reggie Workman for a couple of years, and listening to him talk about playing with 'Trane(he was actually the first choice of bass player in the classic quartet, but he moved back to Philly to take carer of his ailing father so Jimmy Garrison took over) and Wayne Shorter was unbelievable. it was the kind of thing that was like I would bring up a recording of waynes or something and Reggie would say oh yeah I remember that... I think I probably still have those charts somewhere. he wouldn't talk about Coltrane, though.  
as far as the all seeing eye goes, it's a great record, and I also studied with Joe chambers for a semester. let's just say that wasnt quite as pleasant.

Just for MEN!
 
http://www.youtube.com/watch?v=JncaTKABWyw&feature=related
 
My Mother turned me on this cut back in the day...
 
BAAADDD!
 
Peace and Love,
 
Hal-

The all seeing eye

 
     I love Reggie Workman's playing . You have been a lucky man .
 
This is a pleasant exchange of concepts and chat .  
Thanks &  Sonic  Regards ________

Reggie is a great, great guy, man. I miss hanging with him.  
this is his current trio with Oliver Lake and Andrew Cyrille

they put out a great record a couple of years ago called Wha's 9. check it out.

I love Oliver Lake! I've only seen him a few times (ca. late 80s, with Geri Allen in the band). My old band, Shockra, used to cover his tune, Tone Clone, which was always a show stopper.

After thinking about the Jester bass for 9 months, I had come to the conclusion that this project will not be an Alembic project after all.
 
To farther my knowledge, I had decided, I wanted to be more involved with the day to day decisions on this bass -- and wanted to become personally involved with every aspect of the engineering and testing (from the rooter to the tooter).
 
This is my last post on this bass. All inquiries will be responded via private email(s).  
 
 
Peace and Love,
 
Hal-

Never say never is indeed a wise statement. However, I just could not resist not showing the amount of ebony my Jester bass will possess down it's spine...  
 

 
Peace and Love,
 
Hal-

[moderator's edit: The user was previously advised that posting updates on a commercial non-Alembic build are not acceptable]
 
(Message edited by artswork99 on October 23, 2010)

Is the sliding pickup system no longer happening?

First of all, I was never warned of anything the moderator said... if wrong please point this to me...
 
With that being said, I own 2 Alembics and had one custom made. So, for the moderator to delete a picture without any underline messages to what course I was going to take with my bass, was very presumptuous, and wrong. What made you flinch, to immediately react on a simple design which was shaping in many different directions, that was wrong to read what you wanted, and remove my ideas from the scope of an assigned thread?
 
I am sick and tired of being watched as if I am  in a store to steal something, when I paid cash (not credit) for the things I want. In fact, I am doing the very opposite of this, because I give more of ideas when others, may profit from them. Alembic don't offer me everything, no company does.  
 
It's sad, some humans ideas would be un-righteously censored, when this is suppose to be a dream section.  
 
Why suppress concepts, then there are many ideas here, where Alembic players speak of solutions from manufactures working well with Alembic equipment. I seen Alembic pickups on Fender basses, and I seen non-Alembic electronics on Alembic basses. Why not delete those individuals who posted their configurations?  
 
Why target only me?
 
Just the other day, I read about people buying different color strings, (not Alembic) and I seen pictures of non-Alembic pickups on Alembics basses, and even Stanley Clarke's basses had been made available for sale here.  
 
Why target me?
 
Yet, when I post something, I get hassled like being profiled by a jealous cop, who pulls me over because I am and beautiful in every-way...  
regardless of the unfairness, bigotry that exist.  
 
Now multiply your actions 10 million times!  
 
It's people like you, keeps me in reality seat. Thank you for waking me up.
 
 
Peace and Love,
 
Hal-