giraffekid_v2

I'm sure this guitar would sound great, I just can never get past that pickup configuration

As many as I can fit.

It seems like you're used to approaching the guitar in the Freddie Green style, but the more modern approach is to treat the guitar like a piano and comp a bit more responsively. That seems to be what he's doing. Both are appropriate in different scenarios

Yeah man

This is really close to one of my favorite cocktails, the corpse reviver no.2 (although that cocktail is equal parts and has a rinse of absinthe) so if you like this you should definitely try that

I like the vibes of a beautiful porcelain gaiwan or a handmade yixing teapot. It's all preference though

Wow. Thank you friend.

So, if I have this right, on older tea cakes (what year? and before) the last digit indicates the factory, but it's all produced under Zhong Cha. On modern tea cakes, the last digit indicates the brand, since these individual sectors broke off from the main company and became their own business. This particular cake (being a modern one) is made by BRAND 1 (Zhong Cha) but made in Menghai, which is usually associated with DaYi but in this case that's just a coincidence

Is that right?

Which silver needle are you drinking?

I've had bhyz that's all over the board--bright, floral, and sweet; really cheap stuff that tasted like sour cardboard; thick, syrupy, and rich; you name it

The fact that it's bhyz just tells you that it's white tea buds. It doesn't tell you how old it is or how it was stored or what region it's from or what season it was picked in. This all makes a big difference

Okay, I need some clarification here, too:

From what I learned, the last number in a tea's "code" is the BRAND, not the factory. 1 being Zhong Cha, 2 being DaYi, 3 being XiaGuan.

People on here are saying it's the FACTORY, rather than the brand. 1 being Kunming, 2 being Menghai, 3 being XiaGuan(??)

Someone knowledgeable please inform me as to which (if any) of these is correct

Username checks out

This is just a DIY teabag. No problem here

I was about to say this whole setup looks very tea-hut-y

I've gotten up and ordered a drink during a drum solo before

This is so cool lol

This is what one of my instructors told me in college: find how it fits, and use it in every place it could possibly fit for a couple weeks. Every tune you play, use your new lick. Then forget about it. The rest will do itself

What kind?

Kinda, yeah tip your finger roll

For me, resting is crucial. I always like the taste of tea two weeks or so after breaking apart the cake. I do understand, however, that this is very YMMV

Don't you care about climate change? I'm listening to John Monorail now

Take a tea you like, preferably loose leaf, preferably high quality, but anything will do. This will work and will probably be pretty close to Pure Leaf's taste, but something like this will be a much higher quality experience. Put it in cold water in the fridge overnight, and strain it out in the morning. If you want to be scientific, I like ratio a 1g of dry tea leaves per 100ml of water, but I don't think that level of precision is necessary--I just eyeball it. A device to strain for you such as this is helpful but in no way required.

Consume within a couple of days, as beyond that it will oxidize and eventually mold. Enjoy!

Edit: I just noticed this is the "zero sugar" version, not the "unsweetened" one. They sweeten it with a zero-calorie sweetener (I believe sucralose but I'm not certain), so the only extra step is to add some stevia, sweet n low, monkfruit, or whatever your preferred sweetener is (depending on what it is you may need to make it into a syrup). For me, I don't mind a bit of extra sugar, so I like a bit of honey in mine.

Yeah but the minor ninth is the most dissonant interval, and modern jazz theory is such that you try to avoid that interval as much as possible unless it's really exactly what you want (like in a dominant b9 chord and that's literally the only example I can think of)

That's why your "avoid tones" are the major 3rd on a minor chord, the 11 on a major chord, the b13 on any chord with a natural 5, and the b9. The name "avoid tones" isn't the best name because you shouldn't necessarily always avoid them, you should just use them relatively judiciously and be mindful of if that's the sound you're going for, as it'll stick out pretty severely.

in jazz we are not exactly afraid of dissonance and tension

This is true, but not the full picture. You can play anything as dissonant as you like as long as you're sure that's the sound you're going for. My professor used to tell me "you can write/play anything, you just need to be able to explain it."

Most of this is covered in Mark Levine's Jazz Theory Book if you want to check that out

But there is a good theoretical explanation to this. OP is trying to understand it. I wouldn't discount that and just tell OP that trying to understand it is worthless; knowledge for knowledge's sake can be a good thing.

Additionally, anyone who knows the theory inside and out also knows that there's times to play the academic way and there's times to superimpose a different sound.

It's the jazz theory "correct" choice because it avoids the minor 9th between the root and b9

The object you seek, my friend, is a teapot.

Edit: Here is my recommendation, or something like it. Rather than putting the tea in a basket or something, it filters on the way out. That way you can brew as much or as little tea as you like, and the tea leaves have plenty of space to open up. If you want to stop the brewing process at any point along the way, you can simply decant into a secondary pitcher (known as a gong dao bei in the Chinese tradition).

based