Apparetnly I’ll be listening to hits of the '70s, thanks to a housemate.
First was Nicolette Larson.
Then that “Baby Come Back” song. Was that Poco? I dunno. I forgot all about that song until I heard it just now.
At least now we are on to “Always” by Stevie Wonder. That’s better.
It’s by Player.
Ah. Thank you. What a generic name for a band. No wonder I forgot them.
One of the loveliest things Ella ever recorded.
Great tune I was just now singing in my head, and found a live performance I hadn’t heard before.
I don’t know what Mac was doing with the Electro…I hope they paid him some bucks for endorsing or maybe it was backline…Hammond and E(lectric)P(iano)s, I guess.
/* Oh you can tell Mac isn’t much into what the trombone is doing but loves the drummer mixing it up. */
We sometimes used to cover “Before the Dawn” during our folky acoustic shows… people in the coffee shops thought we were kidding when we announce that we we’re going to do a Judas Priest (my brother would break into the Breaking the Law riff for a bit, then we’d move into the ballad, it was always good for a laugh - Dylan, Simon & Garfunkel, Priest? Sure, why not)
Hey, Judas Priest covered Fleetwood Mac and Joan Baez, so why not?
Let’s hear it for the pride of Princeton, N.J. Still out there being fabulous!! 
Not sure why…it’s just one of those good old Bird blues in Bb. Haven’t played this in a dog’s age, but just popped into my head for some reason.
Just a regular blues, but done in a good way.
And now I was reminded that Bill Heid did a real nice bird blues on Hammond, in F, AIR.
Can’t find it on the streaming crap whatever.
Apparently this is Bill Heid doing a blues set just playing piano or whatever.
Yeah, this is the album Bill Heid does a nice bird blues in F, with a nice bassline and beautiful work on both manuals.
So what? I can’t find everything at the moment I’m listening to it. Therefore, I’m stuck on that earlier Bill Heid blues set…judas christ, I’m going to have to turn that off.
That’s not right. It’s as bad as a minstrel show, or some hats and strats or cowstomping BS.
/*
Finally, just to get that out of my head.
See, if I was forced to tell somebody, “Hey, Handy J, show them what the difference is between a waltz and time in six?”
I’d a do this or put this.
Beautiful guitar work by P Bernst.
And now. Yeah, I have a better known recording by TF on CD, but this is what I could find now, and it brings it back to Bird. So what? CP was a great musician, and FU if you don’t think so.
And how the hell do you think I learned to refine some of that gutbucket on piano? Yeah, I was a junior too myself, and played the hell out of this and the rest of them sharp keys like so.
Do it.
No, I’m not kidding. Between that and one of the tunes off the Bluesbreakers album, that did me for the key of E in blues. In fact, if you asked me to play this old one, or a similar tune, I’d probably do the same thing, that little two finger thing in RH and the thing in the LH.
Old habits, they die hard.
And this one did me for a while playing blues in D. I still remember those licks on piano…that idea of leaning into the octaves on the F natural.
Matter of fact, between that one and doing “Iko” I don’t really “think” much in D on piano for just jamming.
Just old habits from the first habits one learned since back then.
Not just beautiful piano, but check out the harp, speaking of the other junior. Sheet. That boy can play. Not me, but he can get some with that harp.
That’s what it is. You know what time it is.
Well, apparently I’m taking the thread title very literally.
I wanna do you too.
Do you people hear the words that are coming out of this boy’s mouth? That some adult language.
Yes, I think music is very much for adults.
/* You goddamned right I wear a suit to hear music, and if I feel like performing again, you goddamned right I put on the sharkskin.
It’s adorable to pretend instrumental music is for children and such.
Eff off. If you don’t want adults and only want little children, you shouldn’t play music, period.
Music is, and has always been, played by and for adults. Period. Fin de l’histoire, ptain. */
/* Ça ira, mon petit.
*/
Do it. There are some details in the recording. The tone captured in that range on the lower manual.
Plus, Chuck Rainey is killing it.
Now, see I can’t put a couple of measures into a digital recorder and loop it. That’s a live groove, dynamic.
I think I saw yesterday this spiral book of staff paper and about two solid pages were “Jimmy McGriff” this and that.
Yeah, I managed to find a few lines from this one. The rest of the notebook is more like:
A lot of Dr. Lonnie. And Grant Green, for some reason, although I don’t think I owned a guitar at the time.
But I did get digital and isolate runs and stuff, apparently. Judas christ, probably fifteen years ago.
I have no idea if that’s accurate, since I don’t think those are the actual names of the tunes.
Mothercrabber, that young kid Anthony Williams has a right drop.
And I always liked this tune.
FWIW, I really enjoy Hubs’s playing during this era. No, I don’t play any brass, but I like how much that man delivers. Almost compositional, when he takes a solo. And beautiful tone, throughout what is likely well beyond the natural range of the instrument.
I got same problem as always. Yeah, I’ve known the exact notes to this for, what, like thirty-five years? You damn right I learned this off the record. I assume everybody else did as well. Else how you going to expect to play some good?
But I still need a count-off to play this as quick as Mac does. I mean just tempo.
He plays it pretty high-stepping. I need a shot in the arm to play it so doesn’t sound like am on the luudes and such.
/* Hey that now over.
And speak of being on top of the beat, but dead slow:
Sheet. Name me one piano picker who never learned this off the record and I’ll roll over and give it to you.
I’m serious.
There does not exist one single pianist who can play in America who hasn’t figured this out from the record.
Prove it otherwise and you’ll have a perfectly good white boy’s donkey to claim as your own in prison or whatever you people do.
And, yeah, do it in Bb, not some of that Chuck Berry crap.
Then when you get to be as old as me you can stupid tricks like transpose it all up a half-step to B, and do other stupid tricks like play all that oola-molla make you wanna holla in E natural instead of regular keys like Eb or F.
E or B, for that matter, have their place at the pianoforte, but it ain’t for playing certain tunes or styles. You gotta be as old as dirt and the hills afore you go playing that in an unusual key. First learn it in Bb. Then let it simmer about twenty thirty years, then come back to it. Then do it in all keys. Then let it simmer some more then come back to it since.
*/
And, yes, despite that terrible little bridge, that’s about the best Hammond organ tone.
Jimmy is working his right foot, and he’s putting that foot way up there. You can hear him working both manuals, but they both are set to the same drawbars. Just before the “bridge” you can hear him tweaking the registration.
Sounds gorgeous.
Trust me, just listen to the first ninety seconds or so with some decent cans or speakers and tell me that isn’t the sound.
Microphone pair sounds almost crammed up in that Leslie joint, but you feel that grease turning, and is smooth.
Mostly it’s just a man and his organ and one sound, plus one foot, and we got some fellas throwing down on the bass and drums.
/* oh yeah.
What kind of dipshtuff hasn’t learned this, from the Lou album, and then from this.
Yes, that is indeed the sound of Cm with a plain 6, or what some people call dorian mode.
Trust me…voice a Cm “three note chord” with an A-natural on top, or whatever. That’s not exactly a triad, but it is a tonality. That’s this tune up and down.
And if you were curious about what that “percussion effect” is, just compare Dr. Lonnie’s solo to Jimmy McGriff’s playing above.
Equally beautifully recorded, but it’s a deliberate choice on each.
One supposes, ironically, McGriff is known in history for having made more recordings with an extra grabby biting percussion (third) and more dirt on the Leslie, although the sample above is extraordinarily smooth for anybody.
*/
Yep, same guy. Carrying the bass as usual.
And same other guy.
First mocrabbing thing one does on the organ, amirite? First you play “The Sermon,” then you play “Kiko” and then you get to choose. “Kiko,” though, is not an option.
Blues in F, heavy on the left foot. That’s rule number one.
/* Oh, and then rule number two. Never be not playing blues in Ab.
Dig Jimmy’s chuffing between the manuals. And, here, as well, you can hear that nasty spitting percussion and the raw sound.
*/
Check it out. This is apparently the real deal. No, I never got to see the Fat Man myself never, but I believe this is him just rapping and playing like one does.
Well, “one” does if one is the Fat Man himself, that is. Yeah, he roll out even some his boogie à la Albert Ammons.
Somebody get that man a recording someplace, I tell you!
Oh wait, they done did it already!
And this one I give you free.
You can pick if it’s in F or in G. Sort of in the cracks there. But play it down in Gb as well. Trust me, it ain’t that difficult for just playing.
And I somewhat doubt if people are actually posting what they are listening to “right now.”
That’s my intention to fulfill, a kind of truth in advertising.
So three minutes passes by and I’m listening to something else.
I believe my record reflects my honesty in that regard.
/* and speaking of Jack Elam…
No, I’ve no idea if Elam was in this or one of those.
But it made me want to spin this one.
*/
