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.
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.
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.
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!
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.
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.
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 be in the balcony Wednesday night.
I hear the sidewinder beat as coming out of New Orleans street beat type grooves. But these things are all intertwined.
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/