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Thread: THE OLD MUSIC THREAD OMNIBUS -- NO ROCK AND ROLLERS ALLOWED UNDER ANY CIRCUMSTANCE!!!!!!

  1. #101
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    Quote Originally posted by Elendil's Heir View post
    Huh. I never realized she could play piano - thought she was "just" a singer. She knows her way around that keyboard!
    Well she can play piano, but boy oh boy can she sing and it is easier to just belt them out then to do both. I heard she learned how to play piano by ear but on the other side her mother was suppose to be a very good piano player before she died and she probably learned some from her mom early.

    There is also the little added awesomeness that she was good friends with Dionne Warwick & Cissy Houston*; so Whitney Houston grew up calling Aretha & Dionne Aunts.

    Cissy by the way can really sing, I think she was better then her daughter.
    This is probably too rock for this thread but I'll link to her anyway. I understand this is the most covered song of all time, Cissy gives it a lot of Gospel.
    Another Folk-Rock song made Gospel by Cissy: .



    * who I ran a stage in Red Bank for her once in the 90s for a Jazz & Blues Festival.

  2. #102
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    Quote Originally posted by Elendil's Heir View post
    Huh. I never realized she could play piano - thought she was "just" a singer. She knows her way around that keyboard!
    Damn right.

    It may not seem that flashy playing, but you can take it as gospel that it is not that easy to hold down a groove and hit the right licks.

    Even without singing on top of it. I bet you even a honkey like me can play all the same notes on that without thinking about it -- it's just not that easy to do it right, takes some practice and lots of listening/assimilating that groove.

    FWIW, I'm pretty convinced she did that solo, the one in Bb, "Sweet Baby, Since you been gone" (or whatever that tune is called).

    That style is just kind of the bridge between the old blues piano and rock and roll/R&B foundations. Just keep hitting the right notes.

    Of course I agree, her real gift is vox -- lots of people can do her thing on piano, and because of bleed-through on the vocal microphone, they probably did do that a lot of switching on the studio recordings.

    Hell, Fats Domino wasn't a bad piano player at all, in case there was any doubt, neither was Little Richard -- they didn't play their own piano on a lot of records for just that reason, not enough isolation between vocal mic and the piano. You just get some kid to copy their licks and they fill it in live in the studio, or in post.
    Last edited by Jizzelbin; 23 Mar 2018 at 09:26 PM.

  3. #103
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    Bout that time of the year. Yeah, the Queen is not this kind of keyboardist.

    But hey, damn few people are!



  4. #104
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    You know, as many times as I played this, including live with some kid guitarists in public, and as many versions I've heard, from instrumental to...well, everybody can play this and does. ETA, yeah, it sounds easy, but trust me it has to be done right, and with none of that fake guitar chord bullshit, pardon my language.

    Heh. Aretha is the only one who put a new spin on RC's "Drown/Tears" -- I didn't get over to the keys to see, but I bet you anything she was in C or Bb. I'll bet you anything that was her playing piano+singing at the same time. EETA Huh. I guess "G" is the Queen's key! Good banjo key! I like G fine. Guitarists hate F, but they can hang in G better then Ab! Sho damn right. EEETA And F# doesn't exist, so forget it. :smile:

    No, I don't know how they mic'ed it, probably at least two on piano, and one for vocals.

    Seems like the only way to perform the song is just play and sing same time -- picking and a grinning.



    That Steve Allen Aretha cut -- did anyone else hear the second piano? Never noticed it the first six times I heard it -- yeah, she was getting annoyed by the amplification of the guitar right in her ear, obviously. Huh. Just 2nd keys player, somewhere off camera, I guess.
    Last edited by Jizzelbin; 24 Mar 2018 at 11:34 PM.

  5. #105
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    Oh and FYI, James Brown "Funky Drummer" although he says "G is the devil's key" (which is not,vd. Memphis Slim).

    Yeah, that confused me for a sec. F/D-->G.

    Change that

    Ain't it funky. Ain't it funky.

    One two three four.

    I think that's Mr. Brown when they land in D playing that (actually pretty good!) Hammond organ.

    Lots of percussion on the Hammond, so, obviously one of the B3/C3/A100 models.

    ETA I'm 100% sure that's Aretha doing acoustic piano on the original Think (she starts in Bb an then just goes up) -- I can't go find a link, just buy the damned album already.

    Rock the LH between the fifth and the tonic. You'll get it. Or else, Just rock octaves in LH -- that could work, too. Not same bassline but, if ur playing it with a crew, the bass player can cover it -- piano == rhythm, groove, texture.

    IMHO.

    Of course I'm right.

    :smilie:
    Last edited by Jizzelbin; 25 Mar 2018 at 12:38 AM.

  6. #106
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    For those interested -- yeah it's rock and roll, so sue me. Here's a cute PDF some gear equipment for Rick Wright.

    Somebody reminded me of "Brain Damage/Eclipse" from DSOTM, so I just fool around with the chords. Not going to remember which channel on the mixer I put the Hammond, but nice chords.

    Somehow, you can't really jam like make a jazz thing out of it -- it's like a Beatles tune, except it doesn't make you want to puke. Well, I guess you could alter the chords and do whatever over it, but IMHO that would sound gay as hell. At least if I do it. Not that there's anything wrong with that.

    Maybe I should start playing "Comfortably Numb" -- IIRC that has some meat on it. And, no, by "play" I mean jot down a few chords on a Post-It note, stick on a wall near the keys, and just play around with it. I don't get paid to copy Rick Wright's exact synth sounds or copy his exact notes, so that's what that means.
    Last edited by Jizzelbin; 25 Mar 2018 at 09:17 PM.

  7. #107
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    Here's more proof Aretha's playing at least some of the piano on her own records. I was just listening to her do "Thrill is Gone" -- everyone I ever played with does it like the BB King record, in Bm. Nope. Not Aretha.

    Right up in a real key, namely, Cm.

    Shape up, son, and do it right!

    Yes. That's the key a player would pick in -- nothing wrong with Bm, good stuff in that, all the way back to Bach. Just Eb/Cm is a real key.
    Last edited by Jizzelbin; 27 Mar 2018 at 05:31 PM.

  8. #108
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    Goddamned right. Suck it.


  9. #109
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    Hey, here's a new oldie -- I've been playing Mac's arrangement of "Silent Night" off his record for a long time (not the singing, just playing his piano way), but I was reminded of this arrangement.

    My fingers are like stubs, after picking freight for a while, but this is the first time I actually felt like just playing a good old tune for since I started doing warehouse.

    Not exactly the right season, but hey, I'm not exactly a model Catholic, and anyway, it's just good music to me that feels good to play, just a nice easy rhythm that you can do whatever you want on.

    Meh, take it or leave it, but I was just happy to put my fingers on the keys and do something laid back with a groove that's already in me.

    Feels good.

    PLUS, doing just American music in G -- I mean, there's just a lot of tunes. The ones I kept flipping back and forth aside from "SN" was "Something You Got" and "I Know" (Barbara George IIRC). So, that made a nice little medley of me just screwing around but still playing the tunes and not just noodling around like a jackass.
    Last edited by Jizzelbin; 01 Apr 2018 at 12:14 AM.

  10. #110
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    Yeah, I don't feel like grabbing a link, and even this is "rock and roll," I was just hearing this again:

    you know, Pink Floyd, "Brain Damage."

    Every time I hear this again I'm struck by just how powerful Rick Wright's Hammond coming in is on this one.

    I always knew him as an EXTREMELY subtle Hammond player, and, obviously, all the Wurlitzer and Rhodes piano work. But I'd forgotten how effective just a good gliss up on one of the Hammond manuals can be -- waterfall keys, so you don't have to worry about cutting your hands like on a piano, just grab with your palms and go. "Palm smear" IIRC is what people usually call it. Hell, I've done it myself often enough on the Hammond -- I just forgot how much a part of this record that was.

    The synth work....meh, I just don't know about it, or haven't really put the records under the microscope -- my view is, what you can hear, that's what is the record, for everyone.

    And, FTR, that's thanks to Froody Blue Gem, who's been unapproved from posting, who told me about learning this on acoustic guitar that I owe that one. That's truly a...it's a remarkable piece of music.

    The harmonies are fun, too. I don't know what I can do with it, but I occasionally just plunk out the chords on piano on my way out the door. Nice, just suspensions, and then back to reality.

    ETA Just hearing the chorus again. Yeah, that's definitely Wright taking both hands at the same time, on the same manual, and glissando w/ the palms...OK second chorus, same. Not the "classical" piano style with the fingernail, just grabbing the keys with the palms and sliding up.

    Well, I'm sure there's some geek article from some magazine sometime about that, but you don't need to read that, because I just told you how he did that.

    It's a great sound -- everyone does it, but here it really fits the song. (first two choruses) EETA That's a nice example of a Leslie moving from up-speed tremolo to getting braked down at the very end. Beautiful.
    Last edited by Jizzelbin; 07 Apr 2018 at 09:22 PM.

  11. #111
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    Actually, first chorus, that's just grabbing a chord on the upper manual and palm smear on the lower (could be the same manual -- I think RW has the same settings on each manual, if at at most maybe a little more drawbar -- the one between 16 and 8 -- on the lower).

    I would do it on two separate manuals, but that's just how I would do it -- it could be done either way, but I just like the traditional Hammond organ way.

    Grab a chord in Rh, and use Lh to gliss up -- meh, can swap hands, doesn't make a difference.

    That's just what I'm hearing.

    Oh, on the second chorus, yeah, that's all on one manual/registration. I bet you anything he's doing like I would have, just grabbing some keys and "making his introduction."

    I don't have the energy to put in a link, but Jim Alfredson of "Organissimo" is the guy -- monster Hammond player, and Hammond-Suzuki endorsed player. He's about my age, a little older, but he has some amazing kickstarter projects and, like me, he's a big fan of Big John Patton on the Hammond.

    No, it's not supposed to be spam, I've just learned a lot about Hammond playing (and, for that matter, Wurlitzer EP home-repair), so just giving a plug.

    FWIW he's just some guy in MI who's the younger generation's Joey D on Hammond.

    Not spam, truly, just the word in case any of you been dead for twenty years!
    Last edited by Jizzelbin; 09 Apr 2018 at 05:56 AM.

  12. #112
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    Quote Originally posted by What Exit? View post
    Aretha is the Queen for damn good reason. 20 years ago, VH1 had some sort of battle of the Divas. She blew away all the other women. It wasn't even vaguely a fair fight.
    I can't imagine who would even DARE face off with the Queen of Soul! What's the girl equivalent of brass balls?

    Well whatever it is, that'd take some brass balls to square off against Aretha!

    Nothing new to offer, just that the Busoni-Bach "Nun Freut Ich" is one king hell of a tune for solo piano.

    No link, but it's just pretty bad as hell too.

  13. #113
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    SOKOLOV doing the Diabelli Variations -- I got mine from YouTube, but I don't have a link right now.

    Something about his theme and the first variation -- I don't like his playing. VERY percussive, he's got concrete hands at the keys. Finally at 2nd var and 3rd var, he changes it up.

    I can't criticize, because his technique at the keyboard obviously surpasses mine.

    OTOH, that's just not how I would play it -- believe it or not, I do fool around with the Diabelli set occasionally, but for some reason it mildly pings a "error!" code when people aren't going it the way I do/the way I would to.

    BUT, I can't criticize Sokolov -- it's a valid reading, and he's done other works I appreciate very much.

    ALSO, the Diabellis are just a monster set of music -- certainly the equal of most of later Beethoven keyboard music, in a purely technique sense (although many of the vars aren't that different from exercises Czerny drew straight from, or the later Bagatelles).

    I'd like to hear Brendel or (I don't think she did it) Argerich doing it. Even Ashkenazy or Richter.

  14. #114
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    Heh.

    That, that is a pretty odd ragtime piece -- but the time (quantized?) and the melodic contrivances reminds me of some of Bill Bolcolm's ragtime pieces.

    Yeah, that is jazz -- well, not exactly modern jazz, and anyway, what is jazz but screwing around with pop music in a funking way?

    It got a chuckle out of me.

  15. #115
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    Here's one everyone knows. Reminded by watching The Color of Money -- I think MS used a brief music cue from this album. Bad motherfucking tune, anyway.


  16. #116
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    OH, interesting tidbit, apparently some short cute girls at work seem to enjoy when you sing under your breath the Ramones' Blitzkrieg Bop

    No, I didn't know she was anywhere near me, something just reminded me of that.

    So that is what a woman is!!!!

    Yay!!!! Well, at least I suspect she has good taste in music -- I could perceive her ears perk up when I emerged from my hole.

    That could explain her fashion (?) thing, with ... well, I don't know how to describe fashion. Yeah, maybe a bit punk, I guess.



    is the point.
    Last edited by Jizzelbin; 21 Apr 2018 at 04:09 PM. Reason: add link

  17. #117
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    Never too late for little "She Caught The Katy."

    Dig the Wurltzer electric piano.

    The clip is from one of the opening scenes of The Blues Brothers

    DO it in Bb or be damned forever to hell!

    Yeah, it's one of those sort-of blues -- not quite 12 bars, but its got that harmonic texture.


  18. #118
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    Oh,

    That's the original tune -- you can hear the acoustic piano way way down in the mix.

  19. #119
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    Well fuck me in the ass, the one from Blues Brothers was John Belushi singing.

    John fucking Belushi. That fat fuck.

  20. #120
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    Oy Let's Go!

    Johnny Ramone giving it to his guitar, power-chord style.

    "Somebody Put Something In My Drink"

    That's the beauty of the Wurlitzer electric piano -- you can slap a fuzz pedal on it, play it through a tube amp, and all of a sudden you're all set to play rhythm guitar with power chords with Black Flag or the Ramones.

    Soften it down, and it's a mellow tremolo piano at home on a Nashville or Memphis recording.

    Only thing that fucks it up is, yes, Trojan Lad is right, jazz people didn't even bother to learn NOT to always play fancy subs or extensions.

    All hail rock and roll!


  21. #121
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    Well, it's about time for the original version of Rawhide.

    Not a day goes back in the warehouse when I don't sing this under my breath, and, to my pleasure, my 65-year old non-caucasian partner in crime often joins in.

    Frankie Laine got a round back in the day!

    Cut 'em in!

    Rawhide!

    Whpshaw!

  22. #122
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    Yeah, you're welcome. did a lot of fines, but he didn't do any better than this classic.

  23. #123
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    James, that asshole compared me to young Elvis last week, I guess cause my hair was all sweaty and I looked like some hick

    I said to him "Hell no, I be Chuck Berry or nobody"

    Goddamned blacks.


  24. #124
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    Quote Originally posted by Jizzelbin View post
    EETA Oh, and anybody trying to learn American-style piano -- just learn it off Aretha and Ray's records. That's the basics.
    And goddamned right. I don't think there's jazz any more.

    What are we on 52nd St west side?

    No. It's American music -- if you claim to be a jazz player and can't play blues/a bit of country, a bit of sacred music you ain't shit.

  25. #125
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    James Brown,

    Yeah.

    Of COURSE it's in D.

    But he puts all his tricks in there.

    Funny, I started with ragtime, did legit, then learned all the Ray Charles and Otis Spann stuff, and now, full-circle, I'm back to Aretha and James Brown, where there's little keys, or when there is, it's stuff I already know how (like Spooner Oldham with Aretha et al.)

    Yeah, the vocals is the missing piece.

    Well, shit, I can't sing for shit, but I can still learn from the backing bands, and, ESPECIALLY, how good they follow the "leader."

    Yeah, "Super Bad" is a bad mofo tune.

  26. #126
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    I haven't played this in at least a few months, but it's a classic.

    version is as good as any, off his NOLA tribute album.

    Maybe I'm brain-fried, but I only play that in Bb, and I can't sing it. Wouldn't feel right in another key.

    Seems like the only way to do it.

    I don't know how that tune originated, but, everybody knows that one.

  27. #127
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    I'm not sure which version this is, but over the past few days I've just been annoying my fellow warehouse workers by pounding out a little second-line rhythm to this tune.

    AFAIC, there aren't really any words to this, just a rough outline, so I like making some up as a go.

    No, I don't subject others to my "singing" unless I'm sure they can escape.

    But, I can't resist doing a little parade-style drumming.

    No, it has not got me any trim, but it keeps me amused, and that's what this music is all about, IMHO.

    Six months. Is a healthy sentence. One year. Ain't no time.

    ETA What I mean by "drumming" this tune is hit the main turnaround, and do some stuff for the walkups, but mainly just keep that parade rhythm going. And if you miss nine bars or whatever, just com back in with a Philly Joe Jones style "hit" and don't drop the beat.

    As James Brown said, "Don't lose it now, 'cause it's a mutha!"
    Last edited by Jizzelbin; 26 May 2018 at 05:39 PM.

  28. #128
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    That should hold you white honkey cracker peckerwoods for a bit.

    Uncle Jizz approved.


  29. #129
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    Yeah, I'm going to violate all over the thread, rules.

    I'm not so much on Rick Wright's synths parts, but "Comfortably Numb" is truly en excellent example of how much to do with so few chords and some nice voice leading between the harmonies and the vocal melodies.

    Almost contrapuntal.

    I'm enjoying it at this moment as a piano piece -- it's hard to not let it go into lounge lizard territory in that instrument, but it's still a bad tune.

    AND, combined with the vocal contrapuntal element, it could be legitimately extended, the harmony, should the soloist (ahem me) feel like doing a jam on it.

    Of course, no piano is going to sound like Dave Gilmour. My regular guitar guy could dial in that tone and shred like that, but he's not going to commute over my house just to jam in private -- still, could work as the basis of a jazz tune where, should I find a place that will at least pay enough cash money to cover gasoline and the effort to carry gear, could be a fun little "set piece" (i.e., a tune where you close out the set, like a theme song).

  30. #130
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    When you see the girl you have a crush on being very friendly with some assnecked nerd:


  31. #131
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    All right.

    is officially the most ridiculous visual performance by a classical musician.

    Even though this is the only Chopin Nocturne I ever really "mastered" front to back, so, know every note, I couldn't finish watching the performance.

    DESPITE my claims to only be interested in lifting heavy things and thinking about capturing women.

    This is way too much.

    COMPLETELY SAFE FOR WORK -- IT'S JUST A PROFICIENT PIANIST WEARING A STREETWALKER-TYPE DRESS PLAYING CHOPIN'S F-MIN. NOCTURNE FOR SOME REASON.

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    All right, you people asked for it.

    I think this is pretty well-known, but,

    I always thought he just stuck to the Hammond, but apparently he can do some of the piano too.

    Yeah.

    Get on up.

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    Just had pop into my head just now.

    Slowly playing more piano -- started just in D, then went up to the "easier" key of Eb.

    That's a tough tune to make sound good just solo piano, with no vocals.

    But it is a good tune, I think anyone would say.

  34. #134
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    Oh, my mistake, I was actually thinking of "Working in a Coal Mine" sung by Lee Dorsey (written and produced by Allen Toussaint, RIP, I believe).

    I don't have a link, but it's equally as good.

    Well, nobody can really be "equal" to Sam Cooke, but it's just as iconic a tune, at least to the music I know.

    Oh, FTR "Chain Gang" is in G, and just changes to either an Em or possibly a C triad with the E on bass, depending on what you want.

    I have no idea what key Dorsey's tune was in originally -- probably Bb I guess.

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    Hmmm.

    A classic from the modern age.

    Odd I thought about this tune at the same time I was trying to get a woman in my life.

    No, it's none of you, just WareGirl.

    I'm unsure of the intent of this tune (I assume Allen Toussaint wrote book and music for it for Lee Dorsey), other than just "feel-good" music.

    I'm unsure that Lee Dorsey's famous tunes ever made it beyond regional Louisiana delta hit.

    Well, AFAIC, they're all famous tunes -- how the hell else did anyone learn piano, besides legit music? American music.

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    Yeah, well, slightly more eloquent of begging to get a cold woman to warm up. Sam Cooke, "Cupid..." Of course.

    Fuck, I might actually learn to play some shit if I thought it would get this ice woman to defrost.


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    I've since spent more than a few minutes looking at @What Exit?'s great find of a very young Aretha doing her thing.

    So, obviously, there's the second piano filling in.

    But what I'm more interested in is her use of the vocal microphone -- in the first, say, fifteen or thirty seconds, she uses the vocal mic as a traditional person would.

    You know, if she wants to shout, she backs off in distance.

    But the more I see this amazing clip, the more I'm unsure of how much the live mixer was riding the faders to compensate for her undoubtedly clipping the levels.

    That, combined with the obvious second piano, makes me wonder just how much was "live."

    Obviously, I'm not a studio guy, or I'd know.

    Maybe I'll try to send a query to Larry Crane, editor of TapeOp magazine, and see what's what.

    No, that's not a shill or spam, just he's the guy who would know.

    Yeah, I'm getting a bit Rain Man about this clip.

    It's an electrifying performance, and yet there are some technical mysteries.

    But no shit, Aretha can play and sing like nobody's business.

  38. #138
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    Aretha doing "Ramblin'" again -- same version vd supr.

    Holy shit can that bitch sing. Just like if I trained for ten years I'd never be Sam Cooke.

    Right place, right time, I guess.

    And propers for the producer giving Fathead Newman two choruses — sounds like him on tenor horn.


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    Quote Originally posted by Jizzelbin View post
    (i.e., a tune where you close out the set, like a theme song).
    .

    Of course.

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    GUITAR people: check out the rhythm guitar at about

    I use the same voicings pretty much on piano, just part of the sound.

    But my time on guitar was not spent doing stuff like that. At most, I liked to use the top three strings and comp like Jimmy Raney or Grant Green, but otherwise I preferred to play lead.

    What am I missing, in the sound of this guy (I assume)? He's got some good palm muting, and, obviously the notes and the rhythm anybody can hear.

    I think, to paraphrase Al Pacino from Heat, "His MO is that he's good! That guy is ready to rock and roll at the drop of a hat."

    Yeah, I mean, that's the same notes I do on keys, even down to the same voicing (no, I don't know which instrument came up first with putting, like the thirteenth or the ninth on top — Lloyd Glenn behind BB King did that a lot, but so did lots of people, like T-Bone Walker did that, and whatever), and the rhythm is just...well, it's just a thing.

    But I think I'm missing something on how to re-think about the guitar fretboard.

    It's gonna take me a while to save up for drop some cash on a new guitar, otherwise I'd be able to answer myself by grabbing the guitar and figuring it out.

    Anyway, I think it's pretty neat.

  41. #141
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    A little obscure at least after 3 most would know.

  42. #142
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    Bach, Toccata in E-minor for keyboard.

    I insist on everyone choosing their own favorite performer (my people are András Schiff, Angela Hewitt, Glenn Gould, in descending order for this one) but I've been carrying around a photocopy in my pocket for about a week. I did play through it (barely) months ago, and IIRC there's not one but two very interesting fugues.

    It is the most Toccata-like of the Bach stand-alone keyboard (non-organ) toccatas, though. Extremely inventive, and just a lot of fun. Most of it is just screwing around in E-minor.

    The kind of thing when you're sitting around the campfire with your piano in your knapsack and someone says "Hey, about playing us a little tune on that old piyaner, Jack?"

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    Just my luck. Somebody had a good "channel" on their "phone" "bullshit" "crap," at this shitty "bar and grill," filled with 1970s Zep and all kinds of good shit.

    The Floyd tune "Breathe" came on, and just into the third chorus (?) when Rick Wright was getting into the Hammond (let's not speak of the synthesizer parts) some turd swapped it for some angry early 1980s punk.

    Normally, I like both, but I was really enjoying hearing how RW used the Hammond.

    Fucking bastards.

    I shall never leave the house again.

    //////////////

    ETA Oh, today I mistook the E-minor toccata for the G-major one, so that's what ended up in my pocket. You know, same key signature, and whatever. And had a chance to read a three or four pages while drinking coffee before work at a table.

    THAT.

    The G-major, that's an object-lesson in how to subdivide. A lot of similarity to the G-maj Partita (the beginning movement of the Partita), but something about the descending chord pattern in eighth-notes made me think of Billy Preston, "Will It Go Round In Circles."

    I wouldn't be surprised if Preston copped that idea from the Bach toccata.

    I was only "playing" from reading the score at a table with cigarette and coffee (which I'm not very good at, sight-singing/hearing), but I think I got the idea of it.

    Preston.

    What a hack.
    Last edited by Jizzelbin; 28 Jul 2018 at 05:44 PM.

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    I'm not sure if it's "politically correct" to play the tune "Big Chief" anymore.

    But, still, even though I can't do the whistling part like 'Fess did, I'm not going to stop playing it on occasion, just because it's such a bad-ass piano part.

    Hell, I've been playing it since I learned it off the record at age...fifteen or sixteen, I guess...so can't stop now.

    At the minimum I can start doing it in Db or even Bmaj, just because, why not.

    ETA
    Last edited by Jizzelbin; 03 Aug 2018 at 05:02 AM.

  45. #145
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    Professor Longhair was really good. This is probably his most famous:

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    Well, I'm no expert, but I think if when you go to Mardi Gras, somebody will tell you what's Carnival for.

    I'm also pretty sure if you stay right there somebody will show you the Zulu Queen.

    Also good for St. John the conqueror root, and get a mojo hand.

    That's just what they tell me.
    Last edited by Jizzelbin; 03 Aug 2018 at 01:32 PM.

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    I just heard the funniest "question" and "response" from some 4chan-type place for children.

    Q: "How good is a today music player compared to Mozart?"

    A: None, just some children blabbering.

    The real answer is that a classical musician today who cannot improvise fluently in multiple styles or at least create pastiches of various composers is a piece of shit who just plain can't play.

    Sort of like a child with some rote technique: not an actual musician.

    There are various places to put the blame for poor musicianship, but that's a fact that every single good pianist and composer is able to improvise idiomatically and effortlessly in multiple styles.

    I don't know where people come from where they don't know this.

    Just kids, I guess, who don't know any better, because they're idiots or have poor understanding in general.

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    Quote Originally posted by What Exit? View post



    A little obscure at least after 3 most would know.
    "Frenesi" IME everyone knows from the Ray Charles band (the album, just *Ray Charles Live*). EETA, no, I've never heard any other version, so thanks for that.

    "Get Happy," I'd never heard a real singer play it, just the Bud Powell (bebop piano) version and some other instrumental players. I don't know the words. "come on now just get happy: we're waiting for the judgment day!" And then there's more words.

    Odd about "Begin the Beguine" — a long time ago a band-mate and friend was telling me about how it's such a long-form tune, breaking (?) with the 32-bar AABA structure, but I never felt like remembering the whole thing. Cole Porter? Possibly Gershwin. (ETA No, Cole Porter nor Gershwin were the friend I was talking about, just what IRL somebody was telling me.)

    All I know about that one is it's pretty complicated, in terms of structure.
    Last edited by Jizzelbin; 04 Aug 2018 at 04:52 AM.

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    Speaking of the Professor, "Hey Little Girl" is about the one I'm after.



    There is, to my ears, pretty much nothing Dr. John plays on piano that isn't straight of Fess's bag of tricks.

    Fortunately it's a big bag, with a lot of little stuff going on.

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    Quote Originally posted by Jizzelbin View post
    Speaking of the Professor, "Hey Little Girl" is about the one I'm after.



    There is, to my ears, pretty much nothing Dr. John plays on piano that isn't straight of Fess's bag of tricks.

    Fortunately it's a big bag, with a lot of little stuff going on.
    Man that was good.

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