The tritone came to them by way of classical music. The tritone. Students were gouged at the door — one-dollar admission! Cannot recall whether band members received a cut of the gate not to mention whether the boys even divvied up the proceeds with pre-headliner, Trilogy. And yet one magical evening, the original power trio would channel the spirits and rise above their youthful inexperience for an extended moment in time.
The three musicians would exult in triumph later when they played back their home-spun recording, assured that for once the band had something fairly worthwhile on tape … only to discover that the tape had run Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall prematurely!
This unnamed instrumental would be used by the group as a yardstick against which all future endeavors would be measured. Link to the next chapter in the Max and the Bluegills saga. But alas, would see Bortz and Mosher take their final high school. Link to encore Max and the Bluegills piece! In an exclusive exchange facilitated by the filmmaker himself thank you, Brendan! I included those since all of the recordings that I based my version of the Monkey Chant Ketjak on, were recorded outdoors in Bali — so the insect sounds are prevalent and add a really nice atmosphere.
Most of those recordings were from the Nonesuch Explorer Series btw. I assume Coppersmith-Heaven noticed that while experiencing it live or was inspired by similar recordings. Gene McFadden James Orville Fulkerson French-Canadian songwriter.
Leapy Lee English singer. Paul Williams Gilbert Kalish Tom Springfield David Benjamin Lewin Waldemar Matuska Czechoslovakian-Slovakian singer. Sammy Turner American singer Lavender Blue. Ahmad Jamal American jazz pianist. Lee Allen Charlie Kennedy American big band alto saxophonist. Billy Usselton Yasushi Akutagawa Marvin Rainwater American country singer and songwriter. Rick Besoyan Genrikh Matusovich Vagner Sheikh Iman Murry Wilson Ken Curtis American singer and actor.
Frederick Fennell American conductor Time and Winds. Died William Douglas Denny Earl Hawley Robinson Robert Levine Sanders Carl Weinrich Jack Hylton Marcel Tabuteau French oboist with Philadelphia Orchestra. Albert Szirmai Francesco Spetrino Charles-Louis Hanon French composer. Atale Therese Annette Wartel Antoine Prumier Peter Ritter Hardenack Otto Conrad Zinck Francois Leonard Rouwyzer Christoph Willibald Ritter von Gluck German-Austrian opera composer.
Daniel Peces De Oro - Claude Debussy, Werner Haas Avec Noel Lee* - Intégrale De La Musique Pour Piano Seul Guillaume van Messaus Johann Staden Japanese singer and actor.
Steph Jones American singer and model. Kid Sister American rapper born Melisa Young. Shane Lynch Trent Tomlinson American country artist. Patrick Wilson American actor and singer. Audra McDonald Kevin Hearn Gary Ryan Rock musician with the Blackhearts. Taylor Dayne Tim Smith Vince Clarke English rock keyboardist and songwriter with Depeche ModeYazoo, and Erasure.
Stephen Pearcy Aaron Tippin Laura Branigan Neil Clar Andy Fraser Amit Kumar Indian film playback singer, actor, director, and music director. Mike Corby Damon Harris Born Otis Robert Harris, Jr. Johnnie Wilder, Jr. Paul Barrere Peter Ruzicka German professor, composer, and conductor.
Grethe Kausland Modulated Leaves - Alex Martin - Eventual Extremes singer, performer and actress. English musician. John Klemmer American bassist, composer and bandleader. Johnny Lee Michel Polnareff Judith Durham Australian jazz and folk singer for the Seekers. Eddy Mitchell French singer and actor. Fontella Bass Bernadette Greevy Irish mezzo-soprano.
Brigitte Fassbaender German mezzo-soprano. David Shire Roger Christian American radio personality and lyricist. Robert O. Ragland American film score composer. Pete Fountain, Jr. American Dixieland jazz clarinetist with Lawrence Welk, Carlos Kleiber Austrian classical conductor with the Bavarian State Orchestra. Tommy Tedesco Angel Tavira Mexican composer, musician, and violinst.
Johnny Hartman American baritone jazz singer. John Ayers Lessard Gene Gutche Jean du Bela Singer and actor born Simon Buytekant. Otto Reinhold Mississippi John Hurt Americna blues guitarist and singer. Wilhelm Rettich Carl Schuricht Philippe Gaubert George M. Cohan Vicente Arregui Garay Friedrich Ernst Koch Neo Slum - Various - Final Count: Old Japanese Flexis William Wallace Piotr Maszynski Czechoslovakian composer.
Alfredo Kiel Achilles Alferaki Louis Theodore Gouvy Janis Cimze Joseph Labitzky Eberhard F. Walcker German organ builder. Japanese singer. Jin Akanishi Also an actor, voice actor and former radio host.
Gina Glocksen Ben Jorgensen American singer and guitarist. Andy Mrotek American musician. Spanish actor and singer. Dave Watson Stephen McNally Jonas Kjellgren Swedish musician with Scar Symmetry. Tania Davis Australian violist. Gackt Croatian singer. William Goldsmith American drummer with the Foo Fighters.
Andy Creeggan Christian Giesler American bassist with Kreator. Jack Frost Jo Whiley English radio DJ and TV presenter. Mark Slaughter American rock singer and guitarist with Slaughter. Matt Malley Bill McCorvey American singer Pirates of Miss-Fred Jake.
Kirk Pengilly Australian rock musician with INXS. John Waite Ralph Johnson Canadian-born British radio DJ. Swedish singer and actor. Jeremy Spencer Jacques Morali French music producer for Village People. David McWilliams German musician. Dave Rowberry Mike Mainieri American vibraphonist. Bill Withers Polish coloratura soprano. Baker Knight American songwriter and musician.
Cathy Berberian Armenian-American singer. Lloyd Lambert Mary Stuart Tibor Varga Hungarian violinist and orchestra leader Ripley's Game. Buster Cominciamo Adamarchi - Dalida - LAlbum Di Dalida Vol. 1 American choral director Garry Moore Show. Franco Ferrara Italian conductor.
Mitch Miller Alec Templeton Discography - Alunfrancis. Symphony No. Krysa Discography James de Preist, Conductor. Alfred Schnittke Clair de lune from the Suite Bargamasque. Mainstream artists and Outsider artists. Selected Discography - Ralph Lalama. Dann Discography - Bonaire Media.
I had just come off doing some shows with Jeff in Japan - opening for him and then coming out to play a few tunes with him. So I came home after that and I had all this Beck influence - a lot of Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall and sevenths. Plus, on that solo, I used that technique where you hit a note with your left hand, down on the low end on the fretboard, and then you tap the same note an octave higher to get harmonic.
I just wanted to play something different for that solo, rather than just doing the obvious. Jeff Beck is my hero, anyway. And also a good friend, I'm proud to say. I'm so awed of him as a person La Corte Di Hon - Festa Mobile - Diario Di Viaggio Della Festa Mobile well as a player.
If you know him, it's even wilder to see what he does. To go into a studio with no proper design on how you want to sound is a disaster--especially with great players. They make anything sound good. You need to have a captain telling you where it's going or you'll hit an iceberg. We crashed into a few icebergs on the way. Unless a miracle happens, your album is never going to get done, whereas if the material is right on, it'll finish itself a lot faster.
We never had a general picture of how the record was going to sound. I wrote one tune which was a very majestic-sounding jungle track with hypnotic, monotonous rhythms. It was a marriage of a Hendrixy-type guitar over a jungle groove, but, unfortunately, it was a novelty track. It lurked Fix - Blackstreet - Another Level, and I wanted to make an album around that one piece because I was so proud of it, but nothing was made.
So it's in the can--the trash can. The truth of the matter is, we didn't have enough material when we started. The stuff Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall was coming out was so distant and unrelated.
Only one track stuck out, and it was Trying To Catch The Wind - Spaghetti Jensen - Trying To Catch The Wind of like ZZ Aint Nothin Going To Come Up Today (Me And The Good Lord Cant Handle) - The Del McCoury Band - Th on speed.
It wasn't until the eleventh hour that I rang up Tony Hymas and asked him to write some music. I've got a boatload of stuff which will probably end up being more useful as ballast for the Honolulu Spaceship - Various - Jungle Jazz Vol. 3. In addition to the tour on which he met Steve Lukather, Simon Phillips worked with Jeff Beck too, starting back in the 70's: was indeed a big year - it was a year when I broke out of the session scene and joined a band not including a band I was in in '74 with Ray Russell as it happens.
The Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall was "" and secondly "The Jack Bruce Band". We were signed to RSO records. Playing with Jack was instant - the moment we started running a song it just worked.
Funnily enough I am in Warsaw now with Toto and the last time I was here was The Colony Of Slippermen - Genesis - Даёшь Музыку MP3 Collection Jack in '92 - same hall.
Jeff Beck gave me the opportunity to write for him together with Tony Hymas who was also in Jack's band. Again playing with Jeff was so natural and it was wonderful to be able to play that music throughout the US, Japan and Europe.
Last time I played with Jeff was in '93 when we wrote some music for "Blue Chips" movie soundtrack. In Simon Phillips called and asked me to sub for Toto in Europe. As soon as I went into the intro of that tune [Rosanna, DH], the whole arena went to their feet and freaked out. It was a worldwide groove that people recognized! The trickiest thing about playing that song live was that B section where it goes: 'Not quite a year since you went away,' that finger snap part.
Jeff had this ability to pull it back ever so slightly and put it in this whole other place. I remember I called it the B Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hallbut Mike Porcaro always called it the church section. I was driving to go hear Vinnie Colaiuta's band at the Flying Jib in Encino, and the song had just come out that day. Everybody was playing it.
I remember getting to the club and the band was setting up, and percussionist Michael Fisher started playing his conga's to that kind of shuffle and said: 'How about that new Toto tune? They liked the style of my art and wanted me to do a "pulp" style lurid romance cover, like a 50's style paperback, for the cover.
They had examples of the kind of thing they were looking for and one cover in particular stuck out. It had a couple dancing in front of a small fire. We recreated the figures shootingphotos of two models in front of a bonfire and I did two different 32-20 Blues - John Hammond* - Country Blues the first was slightly more passionate and racy Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall the second, but not all that different.
After that part of the project was approved, I went to work on the portraits of the band members. I did 9 different portaits. Steve's portrait I painted three times and the rest I painted twice each.
What had happened was, originally the deadline for the job was like two weeks, so they had little photo reference to send me of the band. They sent me some pictures that werent recent Im Your Baby Tonight - Frankie Paul - Jammin first, and after I did those, two or three of the Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall werent satisfied with what I did.
Simon said I made him look 'too good". Dave said the photo I'd done my first portrait from reminded him of a "bad time in his life, he'd rather forget". They liked the art just fine, but I think were a little self-conscious of the possibly over-favortable light in which I portrayed them the designers had asked me to purposelfully make them look "good"as they " weren't getting any younger", etc, etc.
The record company wanted to package them as sexy older rock stars, and I think the band wanted to be seen as serious musicians. I thought they looked fine, like a solid bunch of mature rock guys, buthey, I was just a hired hand! I did what they asked me to. At this point it looked like they had a few more weeks to spend on the project, so they photographed the band in an LA "juke joint" and sent me several head shots from that session.
I finally had the good photo ref I needed and I went to town. The designers and Steve werent happy with his second portait said he looked too Asian or something, search me so I did one last versionwhich you can see inside the CD jacket. The job took much longer than expected, but in the end everyone was happy. They gave me the actual paperback that they used in the CD cover's photograph, I have it on my wall. To be honest, Byron was drilled by the record company and his ego grew to dangerous proportions, when he played with the band for a while.
I think he considered Toto to be a perfect launch-platform for his solo-career. I wish him all the best, but he just didn't form a harmonic part of the band.
Creatchy aka David Garfield and I went and saw Steely the night before we wrote it; it was musically inspired by them. Well, Simon didn't know the title and as it was an instrumental I had the luxury of calling it what I wanted!
And it just sort of stuck. I have a sick sense of humor Question: "What's your infatuation with Sammy Davis, Jr. And that medallion you bought at an auction-is that really from him or Mr. He gave that to me as a good luck charm. Sammy has been a part of my life for many years. I always thought he was the coolest.
I don't make fun of the guy; I dig him. I watch all [his] movies. He had that great Vegas jive. I've got his golf clubs. His golf bag says "The Candyman" on it. There's little pictures of him embossed in the actual clubs. Sammy just brings Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall luck, man.
Like before every show on this last tour [Kingdom of Desire], right before the house lights hit we'd turn up his version of "What Kind of Fool Am I. Everybody would touch the Sammy medallion that I had on before the gig. That was our good luck before we would hit the stage-everybody had to touch a little Sam. Huddle around Sammy. I kept on going, "Yeah, I just want to be like Larry Carlton one day!
He was doing what I wanted to do. All I did, basically, was just turn my amps up louder than Larry does. But now I don't play anything like him; I don't want anyone to think I'm comparing myself to somebody that good. I loved the way he snuck in and out. His sound and Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall Graydon's really affected me.
Guitar-wise that album changed my whole life. Guitar Player Magazine, April " Hearing that sound - a rock sound playing through changes - struck a nerve with me.
He was crancking up his Boogie amp and playing bebop lines with the blues in there, too. That's where all that chromaticism - trying to make an E minor scale sound a little more interesting - comes from.
Guitar One, Guitar School, December I actually played organ on that first record. On "Night Crawler," there's a Hammond organ part on the bridge and that's me. Bastard didn't give me credit though! I was years-old and it was when we'd just become friends.
We were going Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall play poker that night and he goes, "I need someone to play the melody" and I said, "I play keyboards; I can do it.
Well go ahead and do it. It was only like eight bars. You guys have known each other for about 25 years, and this is the first time you actually got together to play onstage? Lukather: Yeah! Well, we did one little thing years ago, but that wasn't really playing together. We just played a song together in the 80s sometime. But this is playing together. Being with Larry was like going to school every night. How did this tour come together in the first place?
I'm fortunate that there's a large audience there who have followed my career. So after doing 3 or 4 years straight, every year going back and spending a month in Japan, I've become really good friends with the club owners. We had been trying to decide what kind of special project I could bring that would be a little bit different.
And there's been talk over the few years about me and Joe Sample doing something, or me and Kirk Whalum doing something.
So they called for that two years ago and said, "Let's do some kind of guitar thing," and Luke's name came up. I said, "Yeah! Let's do that. Lukather: They the Blue Note like to have strange combinations of people; well, not necessarily strange, but they like to keep it fresh. Something people would generally fantasize about but would not necessarily happen. So Larry called me Tea For Two - Emil Stern And His Honky Tonk Piano And His Friends* - Honky Tonk Dance Hall the phone out of nowhere.
I always wanted to be like Larry Carlton when I was a kid. He used to let me hang out. Jeff Porcaro introduced us; I went to school with Jeff. You know, I'd been a fan of The Crusaders and Larry's studio work, but that album in particular "I was like, "I wanna play like that guy! And we'd been friends, but then he moved to Nashville. Obviously we were still friends, but we just didn't see a lot of each other. And then out of the blue he says, "This is Larry.
Do you want to go to Japan? Genius is all I can say. Of the new collection, one may safely say "All is calm, all is bright. I was in the manor, and I discovered an old high school cello. Steve wrote 1040 Blues - Stan Farlow - Hot Wheels 8th-note piece for "Good For You" and I doubled that piece. I tuned the cello, without knowing how to do it. Steve played the base tones and I tried to find out where to hold my fingers, while playing the 8th notes.
I also played the acoustic bass, that's why it wasn't so difficult. When we mixed the song, both blended into one, so Steve's sound was a bit more wood-like. It's really fascinating, because it has the same frequency as Steve's guitar. The proclamation was meant to draw attention to problems that affected children throughout the world, including malnutrition and lack of access to education. DJ Roger Sanchez has revealed a love for unfashionable supergroup Toto.
The DJ sampled the band for his number One hit 'Another Chance' but says he admires most of the band's music. We were supposed to be writing that day, and Dave Paich, Toto keyboardist called us and said, "I'm not coming in to write; I'm taking the wife skiing. I'll see you later. That was an early '80's phase, you know? We called it that because Dave went skiing. Randy Allar interview, Steve P: The guys were very generous to give me a writing credit.
All I did, was take away the sections of the song that bothered me, that I thought were too much. And, you know, I think everyone in the band felt that way too. I put it together how I felt the song should go, which I was able to do so easily because of Pro Tools. Really all I did was remove some extra sections and made it a tighter song. And the guys wound up loving it. Luke: There was no way we couldn't give him a credit on "King of the World.
It was a throw-away song. It almost didn't make the record. We didn't feel it was strong enough. We gave it to Steve, and he cut it to shreds, and basically rewrote the song. Of course we hung around the studio like a bunch of vultures and accidently made him listen to some songs that David and I wrote.
He liked them and agreed to play on the record and as a big fan I was thrilled of course. I thought he was very relaxed and funny during the week we spent with him.
He actually asked me to join his band, right after Mike Stern left. I told him,"You don't want me. You've just had Stern. You need a real jazz guy," and he said,"No man, I need some real rock and roll," but I had to turn it down because I was leaving the next day to tour with [Toto].
The key is to warm up. I have this tape of this guy John Deavers, a vocal coach. I never lost my voice in the 60 shows that we did. It was amazing to me. But I warm up properly. It takes me 20 or 25 minutes just to sing along with this tape while I'm getting dressed. Then I'd play the guitar for 20 minutes, have a beer and shoot the shit, stretch out and I was ready to go.
It's like anything else. It's like playing guitar, man. If you haven't played for a while and you pick it up and you start playing all this stuff, after a while your muscles feel tight. We wrote the whole score; the orchestral stuff. It was kind of an experiment for us, because we'd just fired our singer, and we didn't know what we wanted to do.
It was a learning experience for us. At the time, we were offered Dune or Footloose; we chose Dune, and the Footloose soundtrack sold something like 10 million copies! Chuckles It was terrible. We were at the premiere, and as the movie went on, we kept sliding lower and lower into our seats laughs.
I remember Marty Paich, David's dad, was sitting behind us, and he leaned over to his son and said, "Dave, I told you this was a turkey! We got offered Footloose, and turned it down, which is kind of a bad joke, because we'd probably have made a fortune. Instead we ended up doing Dune with a full orchestra. A lot of people feel that was a mistake. I don't think it was detrimental, but it didn't do anything to further our career.
It really was musical masturbating. It was really David's puppy. Coming from a classical background he wanted to do something like that and we all went along with it. I just look at it as something we did, neither good nor bad. It was a real major challenge and everything like that. We wanted to actually score a movie, and not just write song for it and have them placed wherever they wanted.
We looked at all the scenes, and there was a good hour and a half of music. And everybody put their heads together and we came up with the stuff we wanted. Some of it ended up getting rchestrated, and we're playing a lot of the stuff, cut on track with the orchestra over-dubbed to it. I was happy with it from an educational standpoint. Movies end up being kind of more than they're worth as far as the hassle standpoint.
And when you finally hear the outcome of the movie, the music's not really mixed the way I wanted. I don't think the movie ended up being as good as it could have been, but you learn.
Luke: People like that kind of stuff - they like to see girls dancing around. Wouldn't you like to see guys dancing around in little bikinis? Joe: Yeah, male models doing the same things the girls do in the video - bouncing a ball and so on. Or a couple of hunks throwing a football back and forth.
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