Synth spotting...

[M-.-n]

What baffles me is that he is speedy but doesn't over do it with respect 
to the equilibrium of the tracks. It's just what it needs to give it 
guts and drive. Like a second singer.

great other example

http://www.youtube.com/watch?v=Pg2np37JNEg

at 1:51

I don't mean he's the best player in the world but what it does moves me 
in ways that nobody in his category does... I don't even like solos and 
DEFINETLY not organs ! :)

Tony Hardie-Bick a écrit :
> M-.-n wrote:
>   
>> Yeah, it's certainly not a gear thing, and he's definetly playing it, you can
>> hear it. I wish all solo's could be as rad as the one of their (awesome
>> cover) of walk on by
>>
>> starting at 1.33
>>
>> http://www.youtube.com/watch?v=jqfqVDHNW6c
>>
>> pure genius man...
>>     
>
> Okay - I'll wade in here. Yeah - the guy is a bit of a genius. The speed is a 
> bit frightening and impressive, but, the genius is that - even at the most 
> extreme - everything this guy plays is musical.
>
> There are two things going on in his playing: Speed and knowledge. Now, I'm 
> guessing, but the scary stuff he plays, especially when covering several octaves 
>    with arpeggio-like figures, comes from years of playing piano. There are many 
> variations of octave-to-octave movement, played with just one hand, that sound 
> *damn* impressive, but are not really so difficult if you are a pianist. You 
> just practice a few hours a day, on a real piano, for a few years, and if that 
> style is your kind of thing, you can take it like an apple from a tree. For 
> example, in the key of C, start at middle C and play (right hand only), C, F, G, 
> (up)C then skip the thumb over to play C in the next octave and continue (this 
> is a suspended chord pattern, which is easy to play fast, and also works over 
> more chords than C, E, G, C). Once this kind of mobility is obtained, preferably 
> in several keys, you get a certain freedom. Then, you just have to avoid falling 
> into a pattern that such movements tend to over-emphasise.
>
> In terms of knowledge, a track like Golden Brown would lend credence to the idea 
> that this guy has played, and enjoyed, a lot of baroque music in his time. 
> Probably Bach. So, he reads music quite well (which makes me a bit jealous), and 
> has a deep intuitive grasp of historical musical forms, which also reflect 
> easily into blues style, but crucially give him the ability to depart from it 
> and find melodic variations that a blues-only person would not have access to 
> (this doesn't make him superior to a blues-only person, just gives access to a 
> different vocabulary). I don't think he's studied Bach seriously.
>
> Anyway, this combination, and a certain humility and understanding of his place 
> in musical things, is what makes this guy one of the best keyboard players in 
> rock. It's real music. It's not as technically difficult as it sounds, but, it 
> is still difficult, and the musical application of this set of talents is no 
> illusion - so I agree, pretty much, with the tag of genius.
>
> For an example where there is no illusion, in any respect, of musical or 
> technical talent, one can take a look at this clip of Glenn Gould messing about 
> on the piano. Check the guy's expression - he's not faking his involvement with 
> the music. Make sure to watch to the end of the clip - the playing around 2'15 
> is gonna mess you up:
>
> http://www.youtube.com/watch?v=qB76jxBq_gQ
>
> Tony (HB)
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