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Joined: May 2007
Posts: 1,405
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Joined: May 2007
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I'm a bit jealous. How is it that you have three guys that not only can get away on the weekend to do this type of things, but also want to?
They love music, and seem to want to explore it with me. Are you all considering this trio a job, and therefore actually dedicating a portion of the work week to this? Nice nice nice! Well yes, we're moving in that direction, I feel that we need to spend some quality time working on our sound (that means more original material from me) Which is why I'm bringing in a coach. We've also agreed to spend 6 months gigging with no Or little pay just to test the material (well, if we do get paid I won't argue) and to get our feet wet. I view it as an investment, part of learning the craft. Next step is then doing a recording, as it's really hard getting in on the really-good-gig-circuit if one doesn't have a CD. But yes, it's really nice having musicians backing me in my wacky scheme.
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Joined: Jul 2009
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Next step is then doing a recording, as it's really hard getting in on the really-good-gig-circuit if one doesn't have a CD.
And even if one does have a cd. I wish you good luck. Having like minded musician friends to play with is so important so you are definitely going the right way about it.
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Joined: Apr 2008
Posts: 1,477
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Nice touch, BB. I was a bit thrown off by the eraser though. Could you redo the tune with the pencil again please?
Recordings of my recent solo piano and piano/keyboard trio jazz standards.
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Joined: Apr 2007
Posts: 7,203
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It sounded great Beeboss. Yes, I too was looking for the pencil Heck all these objects are in the foreground so can't help but focus on it...
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Joined: Jan 2011
Posts: 514
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.... on Bemsha Swing I hear a little wavering in the high hat in the beginning, but overall it still seems alright to me . But my ear has probably gotten used to it. Anyone else care to comment on the time at the beginning of this? Sounds fine. I like the drummer's loose feel and your nod to Monk somewhat. I wouldn't change a thing, keep doing what you're doing. You guys play well together. I like the bass player a little less, at least on this one, but it could be the recording. It's a deeper interpretation of the time and groove--not for everyone. The DP is what it is--I don't find it overly sucking here. When you get the dough and if you feel like it, you can upgrade but I wouldn't lose any sleep over it. The music and the player/players are more important then the gear. Thanks Dave. I agree that our bass player is a little less adventurous with interpreting time, but he's cool so it works out. And my keyboard is an old Yamaha p120 that I've had for about 7 years. Something nicer may be in the cards once I'm back teaching full time again.
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Joined: Jan 2011
Posts: 514
500 Post Club Member
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500 Post Club Member
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Posts: 514 |
Scep, on Bemsha Swing I hear a little wavering in the high hat in the beginning, but overall it still seems alright to me . But my ear has probably gotten used to it. Anyone else care to comment on the time at the beginning of this? I still feel the pulse in there, although we were intentionally trying to space out alot there I think... guess we just need to work on it. Don't get me wrong: overall you guys sound great. Maybe it was the way you uploaded the cuts with Bemsha first-- I was really taken aback because in comparison to most everything else you've posted the timing was off to the point that it made me wonder what was going on. But like I said, I really like the concept of space, but an implied pulse really has to be exact in that mix. Maybe I'm also hyper sensitive to this because I'm trying to get my trio to do some of the same stuff, but with very little success. Well, I don't plan on putting Bemsha Swing as the first tune on the demo, just happened to upload it first on box. I can see how coming out of the gate with that might be a little shocking. I might consider trimming the track down a little and starting it later so the time is more solid. But as jazzwee mentioned, to which I agree, in general people will enjoy it and won't notice all the little things that we all scrutinize ourselves over. But I do appreciate your honest comments Scep.
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Joined: Jan 2011
Posts: 514
500 Post Club Member
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500 Post Club Member
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I just watched Keith Jarrett performing on an episode of Saturday Night Live. It's available streaming on Netflix... season 3, episode 17, from 1977. Keith plays solo at about 18 minutes in and 48 minutes in. Pretty cool!
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Joined: May 2007
Posts: 1,405
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1000 Post Club Member
Joined: May 2007
Posts: 1,405 |
Just a couple of Sunday night readings that might be of interest: "Tone Production by the Pianist" from Piano Technicians Journal: http://www.helenamta.com/ptj-granholm.shtmlGet thee to a book-store and get Q's (Quincy Jones) autobiography. It's for anybody interested in Jazz, business, what goes on behind the curtain, how-to make a tour throughout Europe with a big band in the 60's work, . . .
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Joined: Apr 2008
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..in general people will enjoy it and won't notice all the little things that we all scrutinize ourselves over... Yes, that's true enough. I suppose it also depends to whom you're tailoring the demo. If entry to a local jazz fest I'm sure they'd want to have things like the Bemsha Swing on there. If to a restaurant I question how many owners would like it. Maybe the venues where you live are far cooler than the ones around here. We have one 'true' jazz club, and a number of places that will let bands play for the door, of which most really only want a certain type of sound. Again, all being said and done, everything else on the demos was really good stuff, and I'm sure if you can remix it with some reverb or presence or whatever it would be an acceptable demo disc.
Recordings of my recent solo piano and piano/keyboard trio jazz standards.
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Joined: Apr 2007
Posts: 7,203
7000 Post Club Member
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OP
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I got in to my regular venue by first playing solo piano at dinner. I doubt they would have listened to a CD because it's not a jazz club. But that led to discussions because I said, I can do a better job with a band. Then on our first band gig, we attracted a crowd. Then we broke the bar record and we became a regular. But lot of shmoozing on my part to do it. It also means tailoring the tunes to the audience and having a singer. It also meant that some other competing musicians had to go. In this case, a jazz combo won over Beatles covers. There's a jazz audience though. I was just creative in finding them.
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Joined: Nov 2011
Posts: 67
Full Member
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Full Member
Joined: Nov 2011
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Found this Keith Jarrett gem, one of his rare compositions. http://www.youtube.com/watch?v=Gw2n4YUenu8He plays it on the Cargenie Hall solo album as well. I'm surprised he doesn't compose more.
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Joined: Apr 2007
Posts: 7,203
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So they were discussing this at Pianist Corner. Where do you stand on this? Me? Velocity = Tone. KJ makes his sound because he has absolutely fine control over the evenness of velocity at ALL moments, including placement of the note on the beat. I don't believe in any other mumbo jumbo about altering tone production on a single note. It's all about Multiple notes to me.
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Joined: Jul 2009
Posts: 1,604
1000 Post Club Member
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Posts: 1,604 |
So they were discussing this at Pianist Corner. Where do you stand on this? Me? Velocity = Tone. KJ makes his sound because he has absolutely fine control over the evenness of velocity at ALL moments, including placement of the note on the beat. I don't believe in any other mumbo jumbo about altering tone production on a single note. It's all about Multiple notes to me. I have noticed that some really great players use the una corda quite a lot, although I am not sure that KJ does that much.
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Joined: Apr 2007
Posts: 7,203
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My teacher is obsessed with una corda. In fact he practically rides it the whole time (which over time would harden that area of the hammer). I don't think KJ uses it at all. He just rely's on his own touch control.
My piano doesn't have a sostenuto btw so I don't even know what this does. Any application in jazz? Should I even care?
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Joined: Jul 2009
Posts: 1,604
1000 Post Club Member
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1000 Post Club Member
Joined: Jul 2009
Posts: 1,604 |
A lot depends on the piano and the room. If the tone is a bit harsh then a bit of una corda can really help. If you have a perfectly regulated 12 ft Steinway concert grand and are playing to a concert hall then maybe it is not so useful. My C5 has a sostenuto which I use a fair bit. Not really so useful in straight ahead jazz playing but for solo piano I use it quite a lot. It makes many things possible which would be impossible otherwise.
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Joined: May 2009
Posts: 617
500 Post Club Member
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500 Post Club Member
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Posts: 617 |
You can pluck the inside of the piano as chords with the sostenuto. That's pretty hip
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Joined: Jul 2009
Posts: 1,604
1000 Post Club Member
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1000 Post Club Member
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I really do like that effect
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Joined: Jul 2009
Posts: 1,604
1000 Post Club Member
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1000 Post Club Member
Joined: Jul 2009
Posts: 1,604 |
Another new youtube tune from me today, i am on a roll something a bit different though http://youtu.be/Bf56EiAT7Ao
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