Bob Dunn & Jimmy Wyble 1941 - I Found a New Baby
Moderator: Brad Bechtel
Bob Dunn & Jimmy Wyble 1941 - I Found a New Baby
Western Swing and jazz great Wyble with the legendary Bob Dunn.
https://www.youtube.com/watch?v=C6O-5fvznVQ
https://www.youtube.com/watch?v=C6O-5fvznVQ
Steel Guitar Books! Website: www.volkmediabooks.com
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- Steve Cunningham
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This is great! Mr. Dunn’s playing has always reminded so much of Louis Armstrong…the Swing & Joy in every note!
Zoom/Skype/Facetime lessons available http://www.atlanta-guitar-lessons.com
YouTube
http://www.youtube.com/user/SingingStri ... ature=mhee
YouTube
http://www.youtube.com/user/SingingStri ... ature=mhee
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Yeah, the horn influence on Bob is unmistakable. Even though, if dim memory serves, he studied with a Hawaiian player, he has almost no audible Hawaiian influences in his playing. Here's another killer solo transcribed by Guy Cundell. Thanks, Guy! Dunn was fierce in the way he could dive in to a song, swinging hard from the get-go.
https://www.youtube.com/watch?v=B3bESwYW9_8
https://www.youtube.com/watch?v=B3bESwYW9_8
Steel Guitar Books! Website: www.volkmediabooks.com
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Recorded in Dallas on October 9, 1941.
The other 5 titles recorded by the Mounce band that day were:
I'm Sorry That You've Gone
18 Months, Little Darlin'
What's Bob Done
I Thought About You
I've Been Drafted
All with Wyble and Dunn. Vocals by Sock Underwood.
There's another 6 Mounce titles from the previous April that have Dunn, but not Wyble.
All 12 worth getting.
They could all be on Youtube...I haven't checked. If not there, look at Archive.org.
Archive.org does have Dunn's stuff with The Sons Of Dixie.
The other 5 titles recorded by the Mounce band that day were:
I'm Sorry That You've Gone
18 Months, Little Darlin'
What's Bob Done
I Thought About You
I've Been Drafted
All with Wyble and Dunn. Vocals by Sock Underwood.
There's another 6 Mounce titles from the previous April that have Dunn, but not Wyble.
All 12 worth getting.
They could all be on Youtube...I haven't checked. If not there, look at Archive.org.
Archive.org does have Dunn's stuff with The Sons Of Dixie.
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I just ordered this, i have maybe six songs from him on a comp but i wanna cop some of his technique, I'm guessing he plays in A tuning, at least it feels right to me in that tuning.
The set just got here and its beautiful, a must have.
The set just got here and its beautiful, a must have.
Last edited by Glenn Wilde on 23 Jul 2021 4:47 pm, edited 1 time in total.
- Dan Koncelik
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I appreciate the introduction to great sounds of the past which are unfamiliar to me
“When Dunn solos, you don’t hear the sweet and dulcet tones of the familiar pedal steel (which had not yet been invented), You hear a lurching, perpetually off-balance-sounding cascade of bent broken tones, raw trombonelike swoops and smears, advanced harmonic substitutions that occasionally make Dunn sound like a proto-bebopper, abrupt squeals of feedback, bell-like harmonics, and above all, a sense of delighted discovery and bemusement, as if the unlikely sounds coming out of Dunn’s amp were startling him as much as his listeners.â€
– Robert Palmer
Just looked at this cd on the Origin Jazz Library website and one of the reviews summed up pretty much exactly the words running through my mind after hearing some of Bob Dunn's music:
PostPosted: 16 Jul 2021 7:05pm Post subject:
I just ordered this, i have maybe six songs from him on a comp but i wanna cop some of his technique, I'm guessing he plays in A tuning, at least it feels right to me in that tuning.
“When Dunn solos, you don’t hear the sweet and dulcet tones of the familiar pedal steel (which had not yet been invented), You hear a lurching, perpetually off-balance-sounding cascade of bent broken tones, raw trombonelike swoops and smears, advanced harmonic substitutions that occasionally make Dunn sound like a proto-bebopper, abrupt squeals of feedback, bell-like harmonics, and above all, a sense of delighted discovery and bemusement, as if the unlikely sounds coming out of Dunn’s amp were startling him as much as his listeners.â€
– Robert Palmer
Thanks Andy and Guy for the transcription—this one solo alone will provide me with months and years of masterclasses for outlining chords/melodies and harmonies and how to sound 'jazzy' in high bass A tuning!Yeah, the horn influence on Bob is unmistakable. Even though, if dim memory serves, he studied with a Hawaiian player, he has almost no audible Hawaiian influences in his playing. Here's another killer solo transcribed by Guy Cundell. Thanks, Guy! Dunn was fierce in the way he could dive in to a song, swinging hard from the get-go.
Glad to intro you to Bob, Dan - he's unique in the steel guitar world. As for the transcription above .... measures 17 &18: the mind boggles!
Steel Guitar Books! Website: www.volkmediabooks.com
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Here's a list of 115 songs with Bob Dunn on steel, from the mid 1930s to about 1950. Only a very few after the early 40s.
The Milton Brown recordings are not included.
Other than the Brown stuff, this is probably 70 or 80 percent of his output.
I'd guess most are findable on the Internet. Go get 'em if interested.
The Milton Brown recordings are not included.
Other than the Brown stuff, this is probably 70 or 80 percent of his output.
I'd guess most are findable on the Internet. Go get 'em if interested.
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Here are 7 songs that I posting on my channel last year.All from 1939.
https://www.youtube.com/watch?v=LC0cK1GLVYk
https://www.youtube.com/watch?v=LC0cK1GLVYk
- Dan Koncelik
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Here's a list of 115 songs with Bob Dunn on steel, from the mid 1930s to about 1950. Only a very few after the early 40s.
Thanks, Mitch and Chris! The master song list is helpful to know who he played for, not under his own name. Funny that one of the first youtube vids I saw (and have put into my burgeoning 'Steel' list is this very video you linked toHere are 7 songs that I posting on my channel last year.All from 1939.
https://www.youtube.com/watch?v=LC0cK1GLVYk
Interestingly, since Andy posted the transcription, I've been using individual measures as practice licks, ways of 'drawing out' arpeggio shapes of particular chords. And it's fun!I think that approach is the most used among many players, learning licks/phrases in order to improvise/ speak the musical language.
Even the 'mind-boggling' measures 17-18. It looks to me like 'sweep picking', the way it's written and the speed at which it's performed. So now I'm playing with that concept using the tip of the bar and either index finger to sweep from high to low, or thumb to sweep from low to high.
And it's a blast—even if it sounds a bit drunken because my barring isn't as precise as it needs to be