He should fall in love
like a rock star jumping off a piano,
and stay in love until he can’t
jump off pianos any more.

And though his bed may have
the feel of a mushy banana, the mattress
should be as firm as his jaw.

“You’re good,” she said.
I answered, “How good?”
“As good as a guitar string plucked
just right.  Damn good.” 

“But not good enough,” I said, “to keep my wallet
in my back pocket.”

“Aha! Is that why no one gets close to you?”

Touché. 

She hopped out of bed like a cricket,
actually rubbed her left foot
against her right shin, and pointed at me,

“You’ve been here before; alive, living.”

“I see.” We’ve been at it too long, I figured,
staring at my legs, still tangled
in maroon sheets, every inch of this bed
displaying signs of what we could do in the dark. 

The wise man keeps his secrets
beneath his bed, not on top.

“You were a Prince,” she said at last.

“No, no, no, Sweetie, I just like his music.”

She stared at me as if I were a letter
from an unrecognized address.

“Give me a hug,” I ordered.

When she emitted a wide-mouthed,
head-tilted laugh, I added, “Okay, so
I’d rather be loved than feared.  Sue me.”

With that, she grabbed me like a cello
and began to play.

dessins inspirés par la musique d’Anna Aaron

hier soir,  session de Radio Paradiso sur RSR

artiste en amour avec son piano

entre extase, confusion et révolte

paradoxal parfum d’épine

coupure écarlate au millieu des rosiers

The Pursuit

Na época que o Jamie Cullum lançou o segundo CD, Twentysomething, eu já tava começando a fica fã do cara mas ainda fico impressionado com a velocidade da evolução da musica dele! No dia 9 de novembro ele lançou um novo CD, The Pursuit, que eu vo dá uma comentada por cima aqui. Esse é o SetList:

• 01. Just One Of Those Things (C. Porter)
• 02. I’m All Over It
• 03. Wheels
• 04. If I Ruled The World
• 05. You And Me Are Gone
• 06. Don’t Stop The Music (Rihanna)
• 07. Love Ain’t Gonna Let You Down
• 08. Mixtape
• 09. I Think I Love
• 10. We Run Things
• 11. Not While I’m Around
• 12. Music Is Through

Primeiro de tudo, minha espectativa já era bem alta, afinal o último CD foi lançado em 2005 (Catching Tales) e, para mim, deixou a desejar um pouco e desde o inicio do ano ele já falava no twitter muito sobre o CD e como ele tava saindo muito bom. Infelizmente o CD não tá nem um pouco disseminado na internet.

O CD começa impecável, decai um pouco, mas continua bom. A faixa inicial, Just One Of Those Things, é um tipo de musica pop com um toque gigante de Jazz e um ambiente sombrio. Apesar de ser uma musica cover do C. Porter, os arranjos e a voz do Jamie ficaram perfeitas na musica. Outro cover que tem no CD, que parece ser muito bizarro mas é bom até, é Don’t Stop The Music da Rihanna. No inicio nem parece a mesma musica, mas no momento que entra a voz e o baixo, fica bem característico. O mais legal foi leva a musica de um nível totalmente dance para uma coisa mais Jazz dentro do power trio básico: piano, baixo e bateria.

Dentro das musicas do Jamie, dá pra se notar algum tipo de linha que ele seguiu, o que não me deixa muito feliz. Dá também pra perceber uma linha tênue diferenciando musicas “tristes” das “felizes”, dividindo o CD em dois. A primeira parte, as musicas tristes, inclui as faixas If I Ruled The World, Love Ain’t Gonna Let You Down, I Think I Love e Not While I’m Around, sendo que dessas, a melhor para mim é a Not While I’m Around porque é a unica que não fica ao ponto depressivo e tem uma letra muito boa. Já a segunda parte de musicas temos I’m All Over It, Wheels, You And Me Are Gone, Mixtape, We Run Things e Music Is Through. Neste momento o Jamie botou uma coisa muito estranha pra que gosta do estilo de jazz dele, uma musica com bateria eletronica e com um clima bem dance. É realmente estranho ouvir We Run Things perto de musicas como Old Devil Moon do CD Twentysomething. O restante pode ser considerado musicas felizes, mas não tão emocionantes como os CD’s anteriores. Dentro dessas, Music Is Through fica como melhor disparado. Os arranjos dela são meio estranho, um tipo de sintetizador faz um riff curto a musica toda, a levada da bateria me passa uma idéia de progressivo e o refrão da musica é completamente dance, mas continua um rock-jazz louco que o Jamie sempre foi fã.

Em geral o CD é bom, mas não espetacular como os Twentysomethin e Pointless Nostalgic. Lembro também que Jamie Cullum não é Jazz puro, muito menos Rock. Em um DVD ele até comenta que o rock era algo que fazia ele ficar sem sentido, e o Jazz era algo muito arrumadinho para ele. Então ele conclui que na verdade ele é o protituidor do Jazz, e que algo que começou em bebidas, dança e mulheres voltará para bebidas, dança e mulheres…

The prompt said, “Describe a person who has influenced your life.” For some reason Alice kept thinking about her piano teacher’s dog, a large setter named Clancy.

She aspired to play piano, but rarely practiced. It was hard to play with her mother calling out from the kitchen, “That was lovely, Alice — but isn’t it supposed to be allegro? Are you using the metronome?”

Her lesson was on Monday. While she waited, Clancy placed his head on her knee and stared at her, wagging his tail. You are wonderful, his eyes said.

She wrote: Clancy Walton taught me many things…

When I was a child and dreamed of what my home would look like, there was always a baby grand piano that not only sounded great but also looked amazing in my living room.  When I decided to try living in a small space I was sure I would have to give up on that dream and live with a small keyboard perched on a metal stand (like you’d see on a rock concert stage).  While this may not sound like a big deal to most people, to a person who is a musician and loves a clean, modern, but warm esthetic in her home, this was a very big deal.

But after some researching, I found several possible solutions and chose one that works perfectly for me! I wanted to share this information with you.

Before I continue, let me first say that I did not consider any acoustic pianos for my space. This is not because of the size of the space — there are many “apartment size” acoustic pianos — but rather because I live in a condo and I just can’t risk disturbing my neighbours.  I didn’t want to limit my creativity (it could strike in the middle of the night!) by not being able to play at certain times of the day. Therefore, I needed a piano that would allow me to use headphones.

So, I went shopping with the following criteria: must fit well in my small space, cannot be acoustic and must look great. What did I choose? The Roland DP-990.

The Roland DP-990 with its cover open

It’s perfect for me and I love it in my space. The following are the key reasons:

• It’s less than 12″ deep so it doesn’t stick out from the wall and look like it’s taking the entire space. The scale works perfectly in my place

• It has really clean lines that fit with the modern items in my condo and feel like they belong in an urban setting

• The finish is beautiful in polished ebony

Looking like a sleek console table

• The top of the piano closes, completely concealing the keyboard, making it look more like a console table for times when you don’t want the piano noticed or played

• It sounds great when I play it like a regular piano and also sounds great when I plug the headphones into it

I love the Roland digital piano I bought but I did find others on the market that would also be suitable for a musician in a small space.  The price tag on those were much higher than I paid for mine but if it’s within your budget, there are stunning options out there for design buffs and musicians alike.

I’ve tried to hold back on using the line I’m about to use but I just can’t do it anymore: a stylish piano that fits in my small space is music to my ears!

Used Steinway Model O Grand Piano

Click Here To See Sonny’s Steinway Model O Video Tour

Steinway Grand Piano Classic Model “O” they just don’t make them like this anymore. This 1909 all original parts Steinway is a true Steinway in every sense of the word, incredible tone and action response. Furniture about an 8 out of 10.. if we refinished it to like new the price would be $19,950. a steal at this price. Listen to the rich, classic, sublime Steinway tone on the video tour. Piano was just French Polished, action was regulated back to factory specs, original ivories, great instrument through and through. Comes with Warranty and free delivery in LI/NYC and only $475. for move and set up in the continental USA. We also ship to Alaska, the Carribean, Canada and elsewhere. Questions? E-mail or call Sonny direct at sonnys.pianos@verizon.net or call 631 475-8046.

Post Relevant To: Piano, Steinway Piano, Used Steinway Piano, Ebonized Steinway Piano, Ebony Steinway Piano, Model O Piano, Used Model O, Steinway Model O, Pre Owned Steinway Model O, Ebony Steinway Piano, Long Island Steinway, New York Steinway Piano

The Red Garland Quintet with John Coltrane: Dig It! (Prestige PR7229)
Of course it is that crucial “with…” that makes the ears prick up, and pricked ears are just the thing for listening to Coltrane’s dazzling opening solo on Billie’s Bounce, filled as it is with the remnants of bop and the beginnings of the sheets of sound explorations that the saxophonist would increasingly engage in.

This was 1957 and along with Trane, the Miles Davis Quintet pianist had Donald Byrd on trumpet, Paul Chambers or George Joyner on bass and Arthur Taylor on drums. This was an influential band for record collectors but not a live playing unit. Nevertheless it has that late ’50s jazz essence, and Garland remained a favourite for many piano fans.

The tracks are unusually long for the era – Garland’s original composition, Lazy Mae, which concludes this Rudy Van Gelder remastered edition CD, runs to over 16 minutes. It’s a stately blues with the leader laying out the basics in a left hand riff before he adds some treble, and the rhythm team enter for a strong, swinging work through. In fact, it’s not until near the halfway mark that Coltrane enters with another masterful solo, followed by Joyner and finally Byrd, high and lyrical.

The single trio track is Crazy Rhythm, with Garland in exemplary form.

Apparently this disc was originally compiled from the left-overs from sessions which had produced three previous records. Well, what delicious leftovers!

Ebony Schumann Grand Piano

Click Here To See Sonny’s Schumann Video Tour

A grand piano deluxe, Schumann Hi Gloss Grand Piano, mint condition inside and out. Served as funiture piece. Very little mileage. Schumanns are made by Samick Piano Company and were brought into this country by Joe Rosen a Piano store dealer and music store owner from Patchogue, NY. He became the national distributor for Samick and the Schumanns. The pianos were prepped and redesigned by local retired Steinway technicians. So Schumanns are great instruments and have a great tone and action response. Comes with warranty. Questions? Call Sonny Direct. Free LI/NYC delivery. All else continental USA only $475. for delivery and set up in your living room.

Post Relevant To:  Schumann, Piano, Grand Piano, Ebony Piano, Used Schumann Grand Piano, Pre-Owned Schumann Piano, Long Island Used Ebony Piano, New York Pre Owned Schumann Piano

Fredagen den 2009-11-20 var jag och såg den store rock ‘n’ roll legenden Jerry Lee Lewis uppträda på Cloetta Center i Linköping. Det var en helt fantastisk konsert. Trots att Jerry Lee Lewis är över 70 år gammal och har varit med i många år så bjuder han på fantastiska svängiga rocklåtar som man verkligen njuter av. Två av mina favoritlåtar Whole lotta loving och Great balls of fire sjöng han som avsluting. Dessutom så framförde han Roll over Beethoven och en låt som jag tyvärr inte kan namnet på som var lite lugnare och lite bluesing i sitt format. Helt underbart. Pianospelet var på topp och en riktigt kul grej var när han körde som en konversation mellan sitt eget pianospel och de andra musikerna i bandet som svarade på gitarr. Rösten växte efter hand och fungerade bäst på de lite lugnare mer country-influerade låtarna.

Innan Jerry Lee Lewis kom upp på scenen så körde hans kompband bland annat den härliga Professor Longhair låter Rockin pneumonia and the boogie woogie flu. Hade varit riktigt kul att få höra Jerry Lee Lewis på piano till den låten.

Förutom den store legenden Jerry Lee Lewis så var kvällens andra stora behållning hans syster Linda Gail Lewis som även hon verkligen kunde spela piano. Hon la till och med upp ena benet på pianot. Hon körde flera härliga klassiker som Blue suede shoes och Lets have a party med ett härligt ös och glatt humör.

Dessutom så spelade The Refreshments och Eva Eastwood samt Nisse Hellberg som lite förband. Samt en märklig äldre man med akustisk gitarr som framförde bland annat Folsom prison blues på ett mycket trevligt sätt. Eva Eastwood sjöng en fin countyaktig låt och Nisse Hellbergs bidrag blev En doft av läder.

Det var en oförglömlig kväll med underbar musik och en legend som är en musikalisk länk tillbaka till rockens barndom i Memphis och Sun studios med Sam Phillips och de fantastiska artisterna som Johnny Cash och Elvis Presley när de spelade in musiken som senare blev The million dollar quartet. Han träffade säkert också legender som Buddy Holly och Richie Valens. Denna konsert kommer värma min själ och mitt hjärta under återstoden av mitt liv. Otroligt att ha fått uppleva detta!

Practice Log (version 1.1)

Total practice time for 24/11/2009 : 124 minutes

Number of tasks: 48

Task details (Time finished, Type, Title, Duration):
17:17 Pieces : Solfeggietto – Slow play through, fingering, sections & har:3 mins
17:18 Pieces : Solfeggietto – Hard bars 1 bars 5 & 6 :1 mins
17:20 Pieces : Solfeggietto – Hard bars 2 bars 7 & 8 :1 mins
17:21 Pieces : Solfeggietto – Hard bars 3 bar 14 :1 mins
17:22 Pieces : Solfeggietto – Hard bars 4 bar 16 :1 mins
17:23 Pieces : Solfeggietto – Hard bars 5 bar 21 :1 mins
17:25 Pieces : Solfeggietto – Hard bars 6 bar 25 :1 mins
17:26 Pieces : Solfeggietto – Hard bars 7 bars 34 & 35 :1 mins
17:31 Pieces : Solfeggietto – Hard bars 8 bars 30 & 31 :5 mins
17:32 Pieces : Solfeggietto – Section 1 – Memorisation :1 mins
17:33 Pieces : Solfeggietto – Section 2 – Memorisation :1 mins
17:35 Pieces : Solfeggietto – Section 3 – Memorisation :1 mins
17:36 Pieces : Solfeggietto – Section 4 – Memorisation :1 mins
17:37 Pieces : Solfeggietto – Section 5 – Memorisation :1 mins
17:38 Pieces : Solfeggietto – Section 6 – Memorisation :1 mins
17:42 Pieces : Solfeggietto – Slow play through, fingering, sections & har:3 mins
17:48 Pieces : Solfeggietto – Hard bars 2 bars 7 & 8 :5 mins
17:51 Pieces : Solfeggietto – Slow play through, fingering, sections & har:3 mins
18:19 Pieces : Bach Busoni. Awake…. Slow (50%) play through :9 mins
18:38 Pieces : Bach Busoni. Awake…. Hard Phrase – 1. in bar 31 :5 mins
18:50 Pieces : Bach Busoni. Awake…. Hard Phrase – 2. in bar 34 :5 mins
18:55 Pieces : Bach Busoni. Awake…. Hard Phrase – 3. in bar 49 :5 mins
18:58 Pieces : Bach Busoni. Awake…. Hard sections – 9. bars 11-13 :2 mins
19:00 Pieces : Bach Busoni. Awake…. Hard sections – 1. bars 17-20 :2 mins
19:03 Pieces : Bach Busoni. Awake…. Hard sections – 2. bars 22-23 :3 mins
19:05 Pieces : Bach Busoni. Awake…. Hard sections – 3. bars 30-32 :2 mins
19:07 Pieces : Bach Busoni. Awake…. Hard sections – 4. bars 33/34 :2 mins
19:10 Pieces : Bach Busoni. Awake…. Hard sections – 5. bars 34/36 :2 mins
19:12 Pieces : Bach Busoni. Awake…. Hard sections – 6. bars 36/37 :2 mins
19:14 Pieces : Bach Busoni. Awake…. Hard sections – 7. bars 45/46 :2 mins
19:16 Pieces : Bach Busoni. Awake…. Hard sections – 8. bars 48-49 :2 mins
19:19 Pieces : Bach Busoni. Awake… Sections 1 – 13 :3 mins
19:25 Pieces : Bach Busoni. Awake… sections 13 – 20 :5 mins
19:33 Pieces : Bach Busoni. Awake… Sections 20 – 30 :5 mins
19:43 Pieces : Bach Busoni. Awake… Sections 30 – 38 :10 mins
19:48 Pieces : Bach Busoni. Awake… Sections 38 – 45 :5 mins
19:53 Pieces : Bach Busoni. Awake… Sections 45 – 55 :5 mins
19:58 Pieces : Ich ruf’ zu dir,…. Slow cold play though :4 mins
20:00 Pieces : Ich ruf’ zu dir,…. Section 1 (polishing) :1 mins
20:02 Pieces : Ich ruf’ zu dir,…. Section 2 (polishing) :1 mins
20:03 Pieces : Ich ruf’ zu dir,…. Section 3 (polishing) :1 mins
20:05 Pieces : Ich ruf’ zu dir,…. Section 4 (polishing) :2 mins
20:06 Pieces : Ich ruf’ zu dir,…. Section 5 (polishing) :1 mins
20:07 Pieces : Ich ruf’ zu dir,…. Section 6 (polishing) :1 mins
20:10 Pieces : Ich ruf’ zu dir,…. Section 7 (polishing) :2 mins
20:11 Pieces : Ich ruf’ zu dir,…. Section 8 (polishing) :1 mins
20:12 Pieces : Ich ruf’ zu dir,…. Section 9 (polishing) :1 mins
20:13 Pieces : Ich ruf’ zu dir,…. Section 10 (polishing) :1 mins

Comment:
Practiced 3 pieces tonight.  They all went very well. The final Bach/Busoni Chorale Prelude was great. I played it through without error first time! This piece is being reviewed this week after a 2-week planned break away and has had 4 previous reviews.  It felt very solid and comfortable. I wish I’d been recording it!!!

The first piece Solfeggietto I played through ‘OK’, but with several errors and slips.  It has just had a 1-week break.   The main problem is taking this piece too fast.

The middle Chorale prelude has just had a 1-day break. I had a memory blackout in the middle, so this piece got extensive work.

Overall I was very pleased and whilst it was quite a long session by my standards it seemed to wiz by and I was able to remain focussed on the study tasks.

The memory blackout in the Train Wreck chorale prelude reaffirms that the decision to put it through the full 1-2-4-memory rule was the correct one.

It is quite common now days for people to want to know the best way or the best format for learning how to play a musical instrument. Fifteen to twenty years ago the answer was simple, go to a music school or music studio and take lessons from a qualified teacher. Today, times have changed in large part due to the crazy, busy schedules the average person/family maintains and also because of the technology that now exists.

I remember when I was working in a retail music store and at that time the big deal was CDs that were starting to be included in instrument method books. This gave all beginning musicians the opportunity to “teach themselves” how learn their instrument because they now had a CD that could walk them through the book in the comfort of their own home. Soon after that came “teach yourself to play” VHS tapes and then DVDs. Now you could have a teacher on your TV screen teaching you the basics on how to play your instruments. This was very exciting for aspiring musicians because they could watch how it should be done and then try to do it for themselves on their own instruments.

Today with the latest video technologies and the help of the internet people can now take music lessons on-line. Anyone can log on to a specific website and get quick tips on how to play any instrument at pretty much any level. Just like the technologies of the past (Cassette tapes, CDs, VHS, DVDs), the current form of stay at home music lessons offers an easy way for people to learn music. As a supporter of incorporating music and technology I am excited to see how accessible music instruction has become, and as a musician I love how easy it is to gather information about musical techniques and approaches to playing a particular instrument.

Now as a music teacher and owner of a music school should I feel threatened or afraid of the fact that people can go on-line to learn how to play an instrument? Absolutely not! The goal of every music teacher, every music school, and for that matter every musician should be that others find the same joy and passion for music that we ourselves have found. So if that means that someone buys a guitar and goes on-line to figure out how to play it, great! As long as it promotes the great joy of learning to play music than I am all for it. The reality is that the more there are people are seeking music lessons in any form, the better. The truth still remains that there comes a time in every musician’s journey where in order to grow and advance in their craft there is a need for human interaction. Music is always better when it is shared, and because there are so many levels to learning to play music there will come a time when every musician will need personal interaction and instruction. It’s just the way it is.

So my concern is not whether or not the student comes to the Recreational Music Center from day one to learn how to play music, it is simply that every beginning musician is taught the JOY of music making. The Recreational Music Center was started because we saw how often people would start taking music lessons and then quite never to return to playing music. The biggest reason was not because they couldn’t do it, but because of how it was being taught. We believe that you cannot successfully teach music if you aren’t first and foremost teaching your students the joy of the process. Also, equally important, is the fact that music lessons are supposed to be FUN! If anyone is taking music lessons at any level and it is not fun than something needs to change immediately and often times it means that the instructor or method of instruction needs to change.

Here’s the bottom line – the only way to sustain the ups and downs of learning to play a musical instrument is if it is fun. In addition, always remember that the process of music making should result in joy and a deeper appreciation for music in general. If the type of instruction that you have chosen to learn how to play music does not meet this criteria than you need to change. Always remember that music is meant to be enjoyed and learning to play music is supposed to be FUN!

Regreso a Keith Jarret, con un fervor extraño. Lo había dejado distraídamente, en los ochenta. Los regresos pueden ser muy bonitos. No siempre está uno entero para algo, y es que para un encuentro hacen falta tanto la afinidad (que es misteriosa) como la disposición (más práctica); a veces el tiempo trae lo que faltaba la primera vez.

Richard Marx is a pianist and singer whose work I’ve actually loved over the years.  His use of melody, the thoughtful pacing of every nuance, and that unmistakable voice are trademarks of all his classic hits.

My video selection this week is arguably the biggest hit of his career.  It is easily one of the the best pop ballads of the 80’s (if not all time).  This song brings back so many memories.  Again, I’ve always been a sucker for a gorgeous piano ballad, and this one is so hauntingly powerful.  Every note packs a punch.  After the crescendo at the end of the bridge, the guitar swoops in and just breaks your heart completely.

This video is live footage from a concert Richard did back in 1993.  He sounds just as good as he does on his album.

Ladies and Gents, Richard Marx sings “Right Here Waiting” .  .  .

Things are getting back to normal here at Where Pianos Roam.

More to come soon.

-g

encontrado por casualidad, aunque se dice que las casualidades no existen. Rebobinando: me dejo caer por kind of blue, una tienda de música a la vuelta del estudio, atendida por personajes curiosos, entre ellos uno de aspecto japonés, sonriente, de mechas blancas sobre los hombros, quien declara que siente deseos de estrangular a Keith Jarret cada vez que lanza gemidos al piano, eso mientras yo les estaba comprando un CD del propio Keith Jarret. Días más tarde regresé a la tienda, a la busca de algún sonido nuevo para mi espíritu, algo, una necesidad imprecisa, y sin saber mucho qué hacer anoté mentalmente algunos de los nombres de los CDs más atractivos (me guío sobre todo por los colores y las tipografías) para revisarlos luego en You Tube. Ahí escuché Spiegel im Spiegel de Arvo Pärt (una composición minimalista en base a 3 ó 4 notas), me pareció entre tonta y mística, no sé si es total, o si figura quizá en alguna serie de relaxation music…. Nuevamente a la tienda, cojo el CD de Arvo y además uno de jazz nórdico como por poner miscelánea, y me permito indagar un poco con el dependiente, quien me asegura sonriendo que el jazz europeo es en general, lamentable. Añade que para quienes les gusta eso, el CD nórdico que acaricio con la mano puede estar bien. Me decido, pues, por Arvo (carísimo), y ahora sus tres notas blanquean mi estudio.

After the birth of my funny face my Mother took me home.

She had to. I was her child.

She also thought ( like good old Aunt Doris ) that I was fugly.

But I was hers . So she had to take me.

It was the sixties. She dressed me in orange crimplene babygrows. Playsuits. Sleepsuits. ( remember that awful scratchy material ? )

There’s a picture of me and her from time. She’s holding me unsurely on her lap. Her face says : take the photo now, dammit, hurry up! I want to put her down !

( Yes, I’m wearing an orange crimplene babygrow )

We plodded along, me, my funny face and Mom.

There’s another picture from about the time I could sit up on my own without breaking my neck falling over.

I’m sitting next to Mom at the piano. ( She was a pianist, did I mention that ? )

Apparently, I’d taken my first steps walking to that piano as if my life depended on it.

In many ways, that piano saved me………

Here is a recap for the third part: