“Are you a Mod or a rocker?”
“Uhhh… Yes?” 
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Wonder if Kevin would be interested by this?
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RIP Joliet Jake.
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Yeah, for the millionth time.
So, Bill’s secret, really, is just coming up with that quartal voicing of the theme, which he repeats when bass comes in.
I get a big joy out of how he voices his altered dominants, though. Extremely subtle, but very ergonomically correct and satisfying at the keyboard.
The arrangement, itself, of course, is a masterpiece, but it’s really two ingredients in Bill’s sauce: the core arrangement of the head, and some of those funky altered 7th chords he tosses in there.
And his…I wouldn’t call it classic training, but a quick mind to move the same voicings down or up a half-step…not the easiest on piano, always. And the little fills in thirds with one hand…not the easiest, I guess, but I wouldn’t chalk it up to Bill’s classical training. /* I think here it’s just that one little passage before the bass comes in…just a languid set of descending thirds. No special training needed, except just relax and do it. He does do elsewhere on other tunes and with other groups a bunch more scalar passages in thirds which are more technical, but for the sake of encouragement of other budding young piano pickers, I’d say, no, much of what Bill does throughout his body of work is not especially “technical,” although classical training certainly helps a lot of his stuff.
His posture at the keyboard, for example, is not particularly recommended! */
He’s just a good musician, with good command of his instrument.
And a few minutes later:
I love that album, Tony Bennett and Bill, and this tune under Bills dense arrangement was supposedly the inspiration for the vamp Bill did under “Peace Piece.” I mean, yeah, obviously that little sequence of chord clusters is the same. But it’s a good tune in its own right. Comden/Green or Bernstein? Don’t recall, but it’s a good little tune. At one point I actually learned the tune (not Evans’s arrangement, necessarily, but just as a tune).
Love it. Haven’t heard it in forever, but just gorgeous.
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OMINOUS SEAPODS
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Astounding. Almost like a cat playing with a mouse. Except, Ms. Agerich had complete command. Yes. many pianists can play the K141, even at that tempo (which is very very quick, even for that piece), but I’d wager almost none can do it with the unusual fingerings Ms. Agerich chose.
Usually pianists stick with one fingering choice, especially when taking a piece that quickly, but Argerich had sprezzatura…it seemed she didn’t care. She has always had a small repertoire since her teens, though, so after thousands of performances of the K141 she truly was like “do not care! they take it and they like it!”
/* techeh. her RH alone is unbelievable. about two minutes in and counting. Judas priest, what is she, about ninety and counting? And about 2:30 and so to the end of the sonata.
*/
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this works unreasonably well
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I discovered that Jerry Mathers had a band called Beaver and the Trappers, he recorded singles with them, and solo… it’s a hoot. 1962, on Atlantic records.
The B-side
This single might be the reason Auto-Tune was invented.
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