yeah vinnie! improv in a fine balance of structure and being in the moment with feeling.. i love bacharach.. a brilliant sonngwriter of inspired molody and harmony… ivan lins and jobim, as well as joyce moreno are all in a similiar realm of compositional appeal, although they all have portuguese lyrics instead..check out tutty morenos drumming for more inspired bossa and brasilian drumming.. milton banana is great! have a wnderful run!
You're right, Vinnie, when you write "How did music this technically and emotionally complex become so popular?" When Burt Bacharach really came into his own as a composer in the late 1950s-early 60s, most it not all of his songs were written for Black artists with primarily Black audiences. This audience was much more sophisticated a group of listeners and had no issues with the composer's rhythms as long it did not detract from the story the lyrics were telling. The teenage audience wanted more basic rhythms –– Bacharach's music for Herb Alpert, B.J. Thomas, and a few others, while big hits, were much "simpler.
I saw "The Look of Love" tonight (last show in Philly), you were great! Light and propulsive, and one (in particular) HUGE fill like a bookshelf collapsing, it captured the focus but didn't STEAL focus: it was dramatically apt.
Loved Ethan's left hand for "Walk On By" and the subtle friction between the different grooves: eight to the bar in the piano, laidback cross-stick on the snare. So hip!
Next time come say hi!! Thanks for the kind words— I must say, the band, dancers, and Mr. Morris were very happy with the shows this weekend…glad you enjoye!!!
Yeah! Great piece! I imagine it would be quite the challenge to handle the expectations of dancers waiting for cues while also evoking that sometimes stretchy sometimes exact Milton Banana pulse.
Thank you Tom! Love Echo Locator, nice to hear from you. Well, the dancers are great no matter what I do, but yes, it's a tricky balancing act for sure. Thanks again for reading!
Thanks for this. It's important people know that sometimes even top-level players have to live with and even struggle with a piece of music for a while, until they land upon the right approach to interpret that piece for the purpose before them.
I'll try but if I remember correctly you can't access the Balcony via the Orchestra seats limiting my ability to say "hi.' I think access to the Balcony is via elevators in the lobby.
First thing, the sound in the Balcony was great. It was something I worried about but your drums and the rest of the band sounded great.
I never heard a link between "Raindrops..." and "Singing in the Rain" but I heard it last night. It was a wonderful evening, perfect for my heartbroken mood at the moment. I might go back on Sunday because I enjoyed the music that much.
Damn, I am the House Manager at The Maysles Documentary Center and we have screenings tonight through Sunday afternoon...thought I could make it Sunday night. Well, come by for a film sometime, maysles.org
If you have ideas about film and music maybe together we could do a Screening Series at the cinema.
When I was at Berklee back in the 90s I got to take a drum history class from Joe Hunt who you may know played on a lot of the Getz Gilberto stuff (after that first album). Always liked his approach and a sweet guy.
yeah vinnie! improv in a fine balance of structure and being in the moment with feeling.. i love bacharach.. a brilliant sonngwriter of inspired molody and harmony… ivan lins and jobim, as well as joyce moreno are all in a similiar realm of compositional appeal, although they all have portuguese lyrics instead..check out tutty morenos drumming for more inspired bossa and brasilian drumming.. milton banana is great! have a wnderful run!
Thanks James! Ivan Lins, great call!
Unamplified bass & piano- I wish more clubs did this, but they are recording & streaming
You're right, Vinnie, when you write "How did music this technically and emotionally complex become so popular?" When Burt Bacharach really came into his own as a composer in the late 1950s-early 60s, most it not all of his songs were written for Black artists with primarily Black audiences. This audience was much more sophisticated a group of listeners and had no issues with the composer's rhythms as long it did not detract from the story the lyrics were telling. The teenage audience wanted more basic rhythms –– Bacharach's music for Herb Alpert, B.J. Thomas, and a few others, while big hits, were much "simpler.
Thanks for the insight Richard!
I saw "The Look of Love" tonight (last show in Philly), you were great! Light and propulsive, and one (in particular) HUGE fill like a bookshelf collapsing, it captured the focus but didn't STEAL focus: it was dramatically apt.
Loved Ethan's left hand for "Walk On By" and the subtle friction between the different grooves: eight to the bar in the piano, laidback cross-stick on the snare. So hip!
Next time come say hi!! Thanks for the kind words— I must say, the band, dancers, and Mr. Morris were very happy with the shows this weekend…glad you enjoye!!!
I was about to but... at the end of the show the band gathered and I didn't want to interrupt your circle.
Just posted this:
https://x.com/DJpeterDE/status/1797335950688731511
Beautiful writing! Much appreciated….
Yeah! Great piece! I imagine it would be quite the challenge to handle the expectations of dancers waiting for cues while also evoking that sometimes stretchy sometimes exact Milton Banana pulse.
Thank you Tom! Love Echo Locator, nice to hear from you. Well, the dancers are great no matter what I do, but yes, it's a tricky balancing act for sure. Thanks again for reading!
Thanks for this. It's important people know that sometimes even top-level players have to live with and even struggle with a piece of music for a while, until they land upon the right approach to interpret that piece for the purpose before them.
My thoughts exactly-- better to get it all out there, all my heroes have been candid with me, trying to pay it forward. Thanks for reading!
I'll be in the balcony Wednesday night.
Come say hi at the pit Victor!
I'll try but if I remember correctly you can't access the Balcony via the Orchestra seats limiting my ability to say "hi.' I think access to the Balcony is via elevators in the lobby.
First thing, the sound in the Balcony was great. It was something I worried about but your drums and the rest of the band sounded great.
I never heard a link between "Raindrops..." and "Singing in the Rain" but I heard it last night. It was a wonderful evening, perfect for my heartbroken mood at the moment. I might go back on Sunday because I enjoyed the music that much.
Thanks Victor! Our last show is Saturday…if you come again you must say hello..glad to be of service 🙏
Damn, I am the House Manager at The Maysles Documentary Center and we have screenings tonight through Sunday afternoon...thought I could make it Sunday night. Well, come by for a film sometime, maysles.org
If you have ideas about film and music maybe together we could do a Screening Series at the cinema.
I hear the sidewinder beat as coming out of New Orleans street beat type grooves. But these things are all intertwined.
Good point. It’s all intertwined and blended..
When I was at Berklee back in the 90s I got to take a drum history class from Joe Hunt who you may know played on a lot of the Getz Gilberto stuff (after that first album). Always liked his approach and a sweet guy.
Lovely piece, Vinnie. Nice to see the mention of the great Gary Chester. Here's something I wrote about him a few years ago:
https://thebluemoment.com/2014/02/24/give-the-session-drummer-some/
Beautiful essay Richard! I will be constructing a playlist of those tunes. The world would be a tiny bit better with all that info out there!!