What are you listening to right now?

No reason. Just trolling some grad student in classical piano performance on another forum. (Kind of an inside joke between me and this other dude whom I’ve “known” online for quite a while).

So, naturally, I’m listening to it!

But, ever the student, today I learned that “McDonalds hamburger are the worst, they are worse than Burger King.”

I find that to be true.

/* And, by way of general interest, I did indeed put a bag containing a BK Double Bacon in the fridge at work, writing with a Sharpie on it, “Handy’s Hamberder 28-Mar.” It was not molested. That I know of. */

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One day last year the algorithm decided to show me a series of docs on ‘outsider music’ which was really great to learn about. Wesley Willis was featured quite prominently and had some interesting songs.

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I saw him in concert oh so many years ago.

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YouTube’s algorithim comes through again. Huh. Maybe I should start buying scratch tickets again. Great things could happen!!

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This came up on my USB drive after a short jaunt up to the grocery store just now.

Yes, this is the OOP album some witchy woman stole from me and kept as a trophy. It is on Youtube, as I found out, but I’d rather have the album without the compressed sound.

That said, Mac Rebennack sounds great on acoustic piano here, Chuck Rainey on bass, and, of course, Fathead blowing tenor.

Not a particular tune I listen to that often, but of course I cut some teeth as a youngster learning it on piano off the original recording. And, now, as an old, I’m just as happy doing it in Db as in C.

No, I have no idea if Ray did it in Db (as it sounds on the original record, but tape machines weren’t synched to a specific speed in those days, is what I understand) or in C, nor what key these cats are in. I do know everybody will play it in C if you call it on a casual, but I kind of dig Db on piano. Little more up in those guts of the piano.

/* You know, I think if I slowed down the original Atlantic recording of Brother Ray, I’d be able to tell by some really subtle nuances what key he did it in, because of the geometry of the keyboard, but maybe not. We’re talking <= 10 milliseconds of difference to hear a finger sliding from a white-note to a white-note or sliding down from a black key, or sliding up to one…

At speed, any competent pianist, you can’t hear the difference.

Like, you’d be listening to noises of the felt on the hammers, and possibly fingernail or finger noise at the keyboard itself…you know, that’s what you’d have to listen for.

In an acoustic-electric band recorded, I’m sure, live, direct onto tape, there’s no way.

Future pianists: try it in Db! Feels good! But only if you can really play it, you know. */

/* YO MUSICIANS!!! Hey, check it out. I was just playing this at home now again with my little KRK Classics, and IIRC both Mac and Richard Tee are credited as piano and organ. So, here there’s Hammond organ, which sounds awfully close to what Mac did on that Hank Crawford record with “Precious Lord” on it, and then the piano, which is, you know, it’s good and all, but you or I or anyone could play that note-for-note without any rehearsal.

It could be overdubs, but, I’m going to have to guess that was probably Richard Tee on acoustic piano, you know, doing it very straight, and Mac was on the Hammond getting that sound and those fills.

I don’t think that question could ever be solved. But, just listening again, that’s my guess. */

Right now?

But there are some sick later trio cuts with Bill as well. But that’s what I’m listening to right now before…gotta go respond to a 10-100.

/* all right edit since:

Whoo!!! I’ll bet you honks dollars to dimes never heard a quick-change cat like that never before!

I was looking up for one of those later live recordings Bill did of “Nardis,” and then I remembered he could play rhythm in Bb just like a regular cat. Whoo!!! Smoking!"

Woah, baby. Just now realized, without having heard this album entirely, that Bill and his gang and using the “Five” as their “set” number…you know, like to cue the audience and all that the gang has to go do something and all that and see you all in a few…that’s your “set tune”? Wow.

Most people just be like “OK, ‘Goodnight Irene’ or ‘Goodnight Sweetheart’ or just ‘Four’ or something simple.” Wow. Those boys came to play.

I mean, sure, “Hey, Christopher Columbus, did you sail the sea without a compass?” But 5:4…well, experience counts for something I guess.

Now, they didn’t do the whole thing, and it was probably like one dude subtly indicating he needed to go do something, so “rhythm in Bb, two minutes and we’re out!”

Tell me if I’m wrong, but you can practically hear them leather-soled shoes waiting to get off from under them hot lights!

Same thing, just Marc Johnson taking some on bull fiddle this time. Same tune. Hint: “Five” just means the melody is doing five against four, plus the backcycle Bill does on the tune. It’s just rhythm changes in Bb.

For some reason the record label cut it up funny, but that’s all it is.

Gotta say, though, Bill is smoking hot on that. I think Bill is on fire to defeat all odds on the Eddie Gomez date, but I can’t argue against the great Marc Johnson.

/* Here’s the OG “Five”…there are transcriptions out there or what one can do oneself, so that’s the original with the backcycling thing. I’m sure hundreds of young pianists have tried to copy this, but we all know the notes…it’s the feeling.

*/

/*

Actually, I did manage to copy this kind of exact, per Bill’s arrangment (OH NO MR BILL!), but aside from the basic idea of how Bill put the tune in fourths and the specific tensions (and their voicings) on the dominants and secondary dominants, yeah, I can copy it, but it’s still Bill’s arrangement, Yeah, I can play it like he does, but that’s not the same thing.

It was a nice lesson, though.

*/

Good. Now that I have my own copy of the K213.

The performer here gets amazing tone starting at mm 17. Impressive. Clear, resonant, deep tones from the guitar,

Seei t’s very good. The repeat on the A was most welcome, and the performer introduced some variation, but not too far. A few ornaments up through about bar ten or so, and I think she did something slightly different around bar 21 or so to the end. Tasteful variations, fairly slight. Most towards mm 1-8 or so…the main portion of the theme and the statement of harmony in sixths.

Yes, I think a good guitarist should be able to sight read at tempo off the edition I have here written on the grand staff. Clearly, the performer in this case knows the music and is almost certainly using her good looks to sell records, just as Glenn Gould did, but I find her performance enchanting and makes me want to play more guitar. After all, that’s most important, I find.

Outstanding in her field. Yes, she did a few welcome variations in the A repeat, but AFAIC, the B section is a masterpiece, as a composition, and in this rendition. Astonishing. Yes, it’s pretty easy as a keyboardist to “outplay” a guitarist when it comes to speed, chord voicings, and nuance, but I could not come close to how that young lady does with the B section of the Scarlatti K213. Obviously, I can read it and probably play it right now, but not with that level of interpretative ability.

That one. Not just a pretty face. She can play and interpret intelligently and musically.

/* Really?

*/

/*

I’m just saying, Sammy Davis, Jr. was so talented, it’s easy to see how a girl could fall for him.

Don’t do it!

*/

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“Tony!”

“No, it’s NEIL.” :gem:

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Every time.

If I’m undecided what to listen to you, that queen of soul help me.

Ow. That was a woman. And a great musician. Pretty good singer, too.

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Sounds like ELO mixed with Brian Wilson. Nice B side of theirs.

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Found a '94 performance of hers yesterday for a buck at an estate sale. A living legend who I’d never heard of before. :star_struck: We are the same age!

I have done NOTHING with my life. [grumble]

Yeah. Talking about Billy Preston. Wouldn’t be no Stones, no Beatles, as we know them today without this man who had a troubled life, but performed so much great music.

Example? Sure. Here he’s just playing at somebody’s thing.

You’ll never hear better palm wipes and control of the Hammond manuals than this, and he even sounded equal or better on those recordings he made at 15-16-17 or whenever for VeeJay.

Actually, I’m stealing that idea from him of starting off the tune very straight, and, you know, kind of square, before he gets into it.

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Don’t even ask. Just, trust me, it’s a song.

And it’s good advice!

Actually I could use haircut, so I should probably go into GreatClips and just say to the “stylist,” “Get out the hair clippers, jerk, and do something about my long filthy hair! I am sick of looking like an arsehole! Get rid of this filthy rat nest on my head!”

“Why don’t you cut that mullet, you numbskull? This mullet is the reason people are sick of looking at me.”

Pretty sure that would be understood and service would be prompt and professional.

Or just do as instructed!

“Take [my] donkey to the barbershop
Tell the barber that you’re sick of looking like an donkeyhole.”

True story, I usually just tell the gal cutting the hair, “Oh, I don’t know, you’re the expert, just whatever looks good.” Works out fine about 69% of the time…and if it doesn’t, well, it’ll grow out…no big.

But I have a new line: “I’m sick of looking an asshole, so get out the hair clippers, jerk! Do something about my long filthy hair!”

What could go wrong? Oh, well never mind Psychotronic Man, but that’s clear instructions to a licensed professional!

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