5S KIND OF BLUE 3i ‘www keyboardmag.com STEVE FERLAZZO WITH AVRIL LAVIGNE LIVE PUNK MEETS HOT SYNTHS LIVE’S CLIP ENVELOPES BEAT EDITING POWER |REVIEWS|The new Receptor 2 injects massive processing power so your plug-ins run faster and sound better than you ever imagined. Need some serious muscle to drive your virtual instruments and effects? Check out the new Receptor 2 from Muse Research, the ultimate Cee Nn hon seg aca aoe Receptor 2 is crazy fast and unshakably stable. 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Corn ered Fall 2009 312.369.7260 eee TyRCH 2009 ROSEY CHAN JC HOPKINS JUDY CARMICHAEL cut copy BUMBLEBEEZ QUICK TIPS CAREER COUNSELOR SESSION SENSEI CD REVIEWS KEY TRACKS UNSIGNED ARTIST OF THE MONTH GO SEE KEYBOARD CHALLENGE WEEKEND WARRIOR Special Kind of Blue Lessons 46 JAZZ: THE “SO WHAT” CHORDS 48 JAZZ: MODAL IMPROVISATION 50 JAZZ: MODAL COMPING 52 JAZZ: BILL EVANS’ “BLUE IN GREEN’ was a 22 KIND OF BLUE AT SO Released in 1959, Miles Days" sernnaleloum transformed American muse. The piaro werk of Bil Evans and \Wynton Kal continues 10 shape the dovelopmant of jazz today, Here's a look back atthe sessions, and what ‘some of tho best players in the world have to say about tho musi. 32 MCCOY TYNER AT 70 The hard hitting jazz piano master returns with an album al about... guitars? McCoy discusses his werk with players Iko Mare Ribot and Bola Flack, recording “My Favorte Things" with John Coltrane, and why risk taking behavior is a good thing. 36 KIND OF BILL Russell Forrante and Mitch Haupers build on Kind of Biue's frm roots, taking Bill Evans’ now classic voicings and voice leading even further, Want to shape the {futuro of azz yourself? Evan tue Blue onthus cats wil learn something new hove, 42 ROAD WARRIOR: STEVE FERLAZZO Captaining synths and vis for Avril Lavigne's punk pop extravaganzas, Steve Farlazze knows a thing at two about oxceling on tour. Want to land (and keep) your ‘own stadium rock show gig? Read all about it hereLIMITING WITH MIDI DATA MIX THINGS UP LOOP-WISE WITH CLIP ENVELOPES IN ABLETON LIVE TAKE IT DEEP WITH NINE INCH NAILS’ “CLOSER” SYNTH BASS SOUND 8 FROMTHE EDITOR 10 LETTERS 73 PRODUCT SPOTLIGHT 74 CLASSIFIED ADS GEEK OUT BO Alessandro Cortni brings modular age fon tour with Nino Inch Nai. On the cover Milos Dav's confors with Bill Evans while bassist Paul Chambers looks on during the Kind of Blue sessions. Phata by Don Hunston, courtesy of Sony/BMG. MARC GEAR 62 ALESIS SRIB 64 IMAGE LINE OGUN 70 MOOG MP-201 72 ZERO-G PHAEDRA 62 @keyboardmag.com Chock out al the latost new goar online! Exclusive video interviews, product demos, ‘gossip, specs, and moro! (Our Kind of Bive coverage wouldn't al ft in the mag. Vist the website to fnd audio and more stories Go backstage with Stephen Fortnar to tour Alessandro Cortin’s NIN rig,Buying Music Gear? Sweetwater gives you more for your money. Imagine being able fo wring every last drop of value from your dollar and fo put it to work for you. That's what we do here at Sweetwater! When you shop with us, you get more than just the gear youtte looking for — you get valuable ‘edvice, service and support after the sale, money-saving FREE shipping, and more. When you choose Sweetwater, you know yours getting the absolute best value for your dollcr! FREE Shipping => We ofr mee ing deol in Ine ingustry — most items shy Who wrk har 19 oroune 10s quicsy 08 p 50 youll get your gear sooner REI FREE 2-year Warranty Younonitne ge i inetd (EGER protection atta We cutoratically cover your gear for the fist ho years otter he purchase. alvng you cdcec pecee of inc, FREE Professional Advice Our statis mode Up of hight troinod pos whe lve gear ‘os much as you do. Theyle happy ‘oh you fing what works bbest for your pariicular setup. FREE Tech Support \ge0r ater youve received i? Our Tach Sunport toon is nore to holp. We cise cfera wealth of aaine fesources you can access anytime. Mise Inssuments & Pro Alo (800) 222-4700 » www.sweetwater.comFROM THE EDITO History in the Making A moment that timelessness HH you're not a jazz fan, the photo on the ‘cover of this month's igsue might seem odd. A ‘coupla guyé talking about somothing at a piaro, with @ bass player in the background; what's up with that? First, ito history. Tho photo was takon by Don Hursten, a fantastic photographer who has shot seme of the most mamarabe images of musicians of our time. When he took ths parte: ar shot 50 years ago an April 22, 1959, he ‘was a stat photogrephor for Golumibia Rocords. He was on assignment to document one of Mies Davis’ sessions, and he knew that the ‘yonuo ~ Columbia's 30th Street Studio, a for: ‘mer Armenian church ~ afforded him lots of space in which to work unobtrusively. He could shoot from vantage points near the walls while the musicians were set up in the center of the paca, Don was vory savvy about how sessions went, as well as just being sensitive to the noeds of the creative musical moment. When he saw ‘trumpot euporstar Miles Davis go to the piano to talk to pianist Bl Evans, he knew some cool collaboration was taking place. So he fired away. ‘What Don captured was tly @ somal ‘moment in jazz hstoy, one in which the musical tide ofthe day was changing diecton, and the two _auys at the pieno were setting the stage fora conc ‘exploration that would tan the world on ts ear The s26sion Don was working was the second of two soscions that yielded the recerdinge that became ‘Kine of Be, which as you'l read on page 22 not ‘only chargad tho way musicane playod back thon, but eontinuas to ifuence us today. Don's photos underscore the freshness of that album, which is til apoarent today. Miloa and Bill worked together fora brief time, and ‘these photos show the last time they recorded together at al. They were pulled into each created other's orbits, and their subsequent trajectories always bore tribute to ther nieraction, There are mary oxcellont lessons to bo drawn rom the story of ths recording, as well as the muse itsell. So we're devoting a far chunk ofthis special eu to colabrato Kind of ‘Blue. Youll finda litle bit of history a bunch of great photos, and some tributos tothe album ‘rom a bunch of today’s greatest payers on page 22. On page 96, Russel Ferrante and Mitch Haupora show you how to tako tha los: sons of Kind of Blue and apply the sprit of those sessions to take your must in diections {You may not heve yot imagined. nour Play It section beginaing on page 48, Tom Brisin, ‘Scott Healy, and Andy LaVerne take you inside Bill Evans’ playing on Kind of Blue, 80 you can ‘open your ears and fingers to this amaving music. | hope you enjoy itt In otver news, we just got back from the NAMM show, only hours ago as I write this. We encountered an ndustry that sooms to boke tho current state of the economy, showing a rare degree of optimism. Oh yeah, and a ton of coo! stu that you can road about at wwwhoyboarsirag, ‘comand see videos of at www keyboarimaa ty and livetrom.musigplayer.com. Check it ot! At tho NAMM show, | had fantastic veoo interview with Alicia Keys. She's showing off her ‘ew virtua plano, which she sampled her own, piano to create. Yes, she di a bunch ofthe work herself With her commitment o improving her mustianshp and mactorng tha technoiogy sho reeds to gether music out into the word, she's the poster gi for Keyboard magazine, © be sure (Check out the nterview at winn:keyboerdmag! Ore Pex — College of Music. A contributor you should know! Day Job: Teaching harmony, improvisation, and ear training et Borklo Upcoming: Bringing out new volumes of Mr. Goodchord materia. ‘Website: www mrgcadchord.com keyboard VOL 35,00. 34508 MARCH 200 toscconr ne een Toe cece ona Sepa fmowacren et atOW fe SS Ree RE Power SvntTH eed a lifetime to the possibiliti SPECTRASONICSMyth Busters | was wondering ‘about eomathing in you guya made a sig nificant creding orror tho “id Timo Rook and Rol artelo i in the Pay t'secton, The story ofthat Seger rocord is wall known down here in Nashvile, mostly because ofthe guter player Tho way fvo always hoard itis that ‘on tho day that Goorgo Jackson and Thomas Jones il (songwriters) were cutting demos in the old casket factory stucio (where Mus ‘le Shoals Sound was frst located), the players wore ona break, hanging outside smoking cigarettes when a car pulled up and a would be guitar player named Howie MeDonald got out and asked how does someone get to be ¢ "stud" musician. Jimmy Johnson (n typical JJ. styl) told hin, “Wiel buddy this is your ueky day" Ho brought Howie in, who pleyed on one song onl: the demo of "Old Tims Rock and Rol whch foaturod tha piano playing of Randy MeCornick. Fastforward tit, and Seger in the studio working on a new alburn, and chooses to cut the sons. Wile Tom had the right band put together for these sos: sons, what he missed is thet Seger never {olt ko tho tudio band “beat tho domo at least on ths one tune. So Capital records bought Goorgo's domo and added his vocas to th domo tracks The story has been @ favor for so long mostyy because through sheer bind luce, Howe MeDoneld played ona huge ht and thon diseppeared nto the woodwork Stove Nathan Thanks for setting us saigh, Steve! lust for the record, | inserted that misatbution after Tom Bristin completed the piece; lt the teed shows that it urs my mistake, rat his! ~Emie Rideout Editor in Chief Going Soft? | agree wth Bab, whose ltter appears the Jan. '08 edition of Aeyooard adit that my own way, "e0ld ou" to tho deta ago by playng retunents that utize samples ether ‘orboard or on ROM cards, But! con't sequence for playback later, and! | don't utle fibin softwere to complete a chord that ‘any decent musician should already ‘knows |, atleast, know how to pay the nates, how to fom the chord pattems, ‘and play areal gg with real muscians. ‘Your logging of the “software i the answer" crap ss siting to me, ane ‘oxpect, to many of my peer, regard: Jess of thor instrumwnt. What ther k wo ‘are seeing here very semis that ‘mongy taks, buls™t walks, And tha ‘software makers have the $83. The only reason | even glance at your rag is to 900 i you happoned to interview one af the old schoo! ‘Guys, who, by tha way, stil mostly Play real keys: Bily Joo, Chester Thompson, Joey DeFrancesco, Chick Coroa, and Chuck Loavol. In that respect, nice ob. Unfortunately, too often stories on the ‘greats only happen when one of them des, a5.n the case of immy Smith some years ‘ago, and in ths issue, with Merle Saunders. | wor't be renewing my subscripton when it expires in 2009. Good luck with the com pputor magazno. ~Kurt J. Thanks for your thoughts, Kurt Wihat Im about to say I mean with respect and with ut condescension, for! think this is a ase of misapprehension more than any- thing elsa. You bring up points that are important to all of us in the industry. Evary technological devolopment in Imusic fies changed the way we make ‘music, including the synths you play. lust ‘as Keyboard covers the art of playing ~ 1 don't think aryone could consider ow coverage of playing techniques “bulls = we alsa reflect what musicians ere using to make music. Professionals fom every point on the “keys to computers” contiauun are interested in toois that keep them competitive and help them deliver a product that the market wants. And mast of the software tools availatle «are designed for peopie who play. In fact, some of the old schoo! guys you admie use softurare in their shows ‘and o7 their racordinge, too: Bly Joo}, Chick Corea, Chuck Leavell to name a handful | can't deny that we've seen too ‘many of our heroes pass away in recent We intervewes Alla Key an vido at MAM (hats me ‘hel cain he mile and fecha edit Stephen Farts cn the ih), ust ater he blew emf of pole ‘vay wth ne artery f the plang, and fea proested to snanance te flease of het vn virtual pana sat syeth ‘lis Kaya” ~ the erin of wie saw he: very much verkng deep in the technical trenches. esi have i be tne che other? Nope, au can have bah. Chek at. interview at woe. tertaerimany ‘years, Sinny Smith and foe Zawinul ‘among them. Odaly, many readers ding us for cevering artists only when they pass ‘away, but our interviews wath Jimny and Joe wore amang the last mterviews those great artists did, while they wore stil involved in new projects ard performing ‘around the world! Even if you miss our Play It sectian and four interviews with players that ave in every issue, you can't mistake what we're talking about in this special issue devoted! te the musie o7 Kind of Blue. / do hope ‘your subscription doesn't lanse betore you ‘at east get a chance to chock it aur! Ernie Rideout Editor in Chiet LET'S HEAR FROM YOU Contact the editors keyboard@muscpeyer.com Koyooard Magazno 1111 Bayh Ds, Sute 125 San Bruno, CA 04066 Subscription questions: 200-280-9910 (n the US. only) 978-667-0354 keyboardmag(@ computecuifiiment.com Keyboard Magaz no. Box 9158 Findus onlin e joa te fume at Lowel, MA 01853 Find a back issue one hesbordmencen, 00-289-9019 978 667.0364 keybosrdmagG@ computer fulfilmentecmMICRO SIZE. MEGA SOUND. @ — | S bbe So NL ist, we rocked the world with the best-selling microKORG. Then, we unleashed the powerful R3. Now meet the eight-volce microKORGXL, fusing the baddest Sn EN et ee Sn es ae Nana enteReel ui tsrel tetraRosey Chan’s unique melding of pop, classical, and jazz has caught the oars of istaners on both sides of the Atlantic. The London-based pianist, who rose to public acclaim as one hail of the prodigious ‘Yukawa Chan Piano Duo, jumps out on her own with Crossing Over, her soon-to-be released debut recording. Tracked at Sting's Tuscary, aly based studio, and featurng compositions by such diverse musical figures as Chopin, Bil Evans, and ‘Torn Waits, to record ie a celebration of Ghan's inclusive approach to the piano. *On this alburn, I'd ko to think 've cx ated a musical onvironment that encom: passes my great ove of classical composers, and at the same time includes other musical elements} Chan tells me ROSEY CHAN Classical Crossover dung a recent vist to New York. "It's in estng to program people like Bl Evans, who was realy inyhienced by Bach, and thon acd Oscar Peterson and Torn Wa things that are acc to each other 2s wel: ‘Chan, who bull a formidable reputation as a classical pano powerhouse with appearances in both the Un'ted Kingdom and Unted States, started making that con: nection a few years back, when her prvate ppascion for jazz led hor on a musical quest that ultimately resulted in the recording of Crossing Over. "1 iod classical music, but v0 always boon into jaz sho contin tues, ‘I have a lot of frends who ate jazz musicians, and Ive always privately ked to improve at home, But | over found the courage to do itn publ. Only recently have | started doing that. So the album is a hint of what I've baen working on over the past few years? Chan is planning worldwide concert dates in suppor of tha bum, with a Unique, mutmedia thread running through tooth the musical and visual elements of her show. "You need to find new ways of pre ‘senting music” she says. “That's why I lke to collaborate — whether it's with fashion os gners, Dis, oF visual artiste ~ dtferont combinations that ross art forms. It's ‘about speaking to people of our generation ‘and, at to came tm, doing semeshing that challenges me and fulflls me! Jn Font For mare on Rosey Chan, vit wusaeeychen oonJC HOPKINS Bop meets Burlesque The music: A concoction of jazz, swing, op, and Amercan Songbook ~ Hoagy Carmichael meets Charles Mingus. ‘Webpage: www jchorkins.com ‘Sounds like: Mingus, Monk, Frark Sinatra with Billy May, Count Basie, Dina Wasin ington with Max Rosen, Gil Evane, Cab Cal Joway, Elmo Hope, Main influences: Composers from the Great American Songbook, throwing in tho harmonic dissonance of Thelonious Monk, Introduction to the piano: | started out as a poltcal folk singor in San Francisco. Later on. switched to electric gutar and eperimentad wth noise pop: When | met and fol n love wth my wio, found mysott listening only to jaz, the music that | grew up with, startoc expieting st the Univesity of ‘San Franciace piano rooms for hours on ond Early piano gigs: | got gigs at any dive ‘that had a piano. Musicians would sit in ard pratty soon | had a band. filed out my limited reperto re with my own original compositions. Attor 2 while, | realzed that the tunes, when putin a cortan order, told a story. got together with a poet frend, Pete Simonelli, end we wrote 2 jazz-swing musical, Show Biz'ness, ‘wh ch ran for 8 months, ‘Musical life in New York City: When my wife and | decided to ty our fortunes in New York, soon met some great musicians end pout together the big band that had been dreaming about. I met Norah Jones, ‘rogh from Toxas, and she consented to sing with us. ‘Tho Slippor Room gave the band a wook!y residency. We had these amazing, loose shows wth burlesque, swing dancing, and an “anything qooe" atmosphere, Thera, we ‘were able to develop our sound. Favorite keyboard songs: “Blame It On My Youth’ Ovear Lovent and Edward Hoy man. “Ugly Beauty Thelon ous Monk ‘Stardust? Hoagy Carmichael. “Tom ‘Taubort's Blues’ Ton Waite, “Solitude” Duke Elington. Newest project: | am working on 2 mus'- cal, Underneath a Brookiyn Moon. The show takes from my experiences playing The music: Not quite “classic stride? but definitely strde-influenced, Unlike a lot of stride playors | profer playing with other instruments wwrwjudycamichael cam and www jazzinsoirod.com ‘Sounds like: Fats Water, Count Basie, Earl Hinos, James P. Johnson. My frst insp ration on piano was Count Basie, when he stl dé fullon stride with Benne Moten's band. ‘Aigo, move musicals ftom tho "30s ond "40s. ove classic film scores trom the Fred Astare and Ginger Rogers era Musical background: Two years of basic classical piano lessons as a young child. with my flodaling big band in tho days ‘around 9/11 end tl atmosphere that existed atthe time. Cabaret moots Guys and Dolls mocts The Connection Play by ear or play as written: |am an autod:dact. ldo not road very wol, but plod my way through manuscripts to learn the tunes that lam interested in. Words of wisdom: Follow your nese and your heart. Play what moves you and play for tha love of it = and for no other roa- on, Make a commitment te create your hss peak JUDY CARMICHAEL stertod on ukulele at three andl! owe the Handtul of Keys" and and before that, ragtme. Newest project: New GD: Come and Get 1f, with my soptet. This is the largest bband I've ever had and I'm singing forthe Fast time, Both, but mostly earn new things by eet. Favorite keyboard instrument: Sten- way concert grand, hands down. Go back to the source tnd work from there. Find out who your favorite players listened to whan they were starting, And Fsten saa‘The music: Snoegeze, krautreck, syath disco, and '70s pop, reinterpreted by musical nov.ces, ‘Webpage: www.cutcopy:nat Favorite gear: Sequontia Creuits Prophet'5, Yamaha CS-80, Moog Prodigy, MacBook running Cubase 4, Roland RE-S01 Cho: rus Echo, To't Audio ATC-2 mic preamp/E Q/comaressr Favorite songs: Maicolm Mclaren, ‘Double Dutch? Manuel Gotischng, "E2-E4! Arial Prk, ‘Aisa’ Jom Forda, “Stardance” Stooly Dan, "Pog" Ciccone Youth, ‘to Tho Groovy’ B.W.H, "Stop! Sleopy Jackson," Understand What You Want But Just Dor't Agree! Influences: My Bloody Valontno, The Avalanches, Barnard Edwards and Nile Rodgers, Electric Light Orchestra, Animal ‘The music: A mature of punky, raw, elactro rap. “Walt Disney on crack is @ good dese pion ~ and dreams of immortal penguins. Webpage: www thebumblobsoz.com Sounds like: Rabert Johnson jamming with a Roland TR-808 and some twisted structuros and tribal heartbeats, Influences: They range from Jimi Honcrx and Aphex Twn to straight up pop, avant-garde wht noise, and old sou! heartbreakers. Newest project: "30/20" For 30 days in December, we mada new jams and artwork and posted every day on our website. DAN. WHITFORD 1 Electronica ‘<9 with Cut Copy 7 Collective, Tangerine Dream Play by ear or play as written? By eat Nowst Project: A rom ot Munk, "You Nover See Mo Back Down! Favorite artist we've probably never heard of: Dorva. Creative process: I leamed by listening to records that | love. ‘Sometimes mistakes can be the bast creatve tools, and our whole sound was orginally based on not being able to play our instr ‘monte propor, so | novar want to get too “good” Words of wisdom: Reverb, EQ:ing, compression, and panning are overrated. A basic mix of a song should work without going to town on any of thaco. I's easy to got lost thom when a song ie stil orming, s0 | alvays try to leave them tl lest. Fania Prat CHRIS COLONNA Electro Rap with the Bumblebeez Favorite production tools: I Ike old schoo! etut, though I did just make @ track on the Korg DS-10 synth for the Nintendo DS, \which was dope, Also, the Sony PSP Rhythm is area. | ice mak ing noise on gamng des Studio flow: like to cut and paste, and sample our jams. The pro duction is very hip-hop, startng with drums and adding from there Tike to meke the inital tea quickly anc capture that fist instinct. ‘The awesome video for “Dr. Love" where Chris plays ple- tures of keyboards tattooed on peoples’ chests: This doa ‘came from genius director Tor Kuntz and we just rolled from there, ‘Simpicity is tho kay. We wore going for a twisted there sang for this rag tag bunch cf crew as they walked through the scene, Dream collaborator, living or dead: | would lke to mako-a rocord with Jim) Hondrix and uso some of my production styles. ‘iso, to produce a Beatles record would be cool. Words of wisclom: Be free. Don't be scared to experiment Have fun and keop making jara, Mela GatKURZWEIL Power in.a Small Package The all new PC361 packs all the power of the PC3 Series into a compact, eel Orta Ue ee el Ma Ree Ce oie oi ee with an enormous collection of stunning sounds combined with comprehensive Gea Reena Um aos ne geek ea eet a Re REC ser eee eas Rn ue RO RR na ee ey Center se Choose the instruments with award winning sounds and technology. lee es www.kurzweilmusicsystems.comPaes ARTISTS, ADVICE, COMMUNITY Nt doesn't matter whether you perform around tho comer, or halway around tho ‘world ~at some point, you will need to got your sourd check skis together. The term sound checks actualy darivad from an oid Yiddish saying, which roughly ranslatos to: *Prease make me not sotnd Ike s**t? Okay, ‘made that up ~ but that is exacdy the point of a sour check to navigate the pocularties of ‘whatever sonic sivation the gig at hand pres ‘nis, and then gat on with tho show. A found chack ie not designed to be adrose rehearsal, a dazying disclay of you deste, ‘or 8 sparring match with the sound engineer Horo ara savan tips to streamine your sound checks! Be on time. There is nothing more disrespect to your collaborators than showng up to your sound chack late. Make ita priorty lo arrve 10-15 minutes early, not only 28a professional courtesy to every ‘one involved in your show, but because t will give you extra time to check cut the ‘venue and sound before you take the stage. ‘one cohesive picoe of mua. Sound Checks Be quick. Spending an hour at your ‘sound chock will do itlo besidas tire you, your band, and the sound engineer who you're entrusting to make you shine KH them with kindness. It doosn't matter how terrible tho rmicraphone is or how distorted the moni tore may be. Always stay positve and focused. You will be amazed at how much easier itis to solve your problems it you treat your sound engineers with tospoct. Baing a pro moans acting liko ‘one ail the time, not ust during the gg. Make ther want to make you sound ‘900d, and they wil Be your own backup. Do dopend on the varus to have your roquosted backdne goat. Carry what you ‘can to the gig = favorite microphones anc MIDI modules, spare cables, extra fuses ‘or your synths, CDRs and DVDRs for recording, Sharpies for sigring CDs, ‘muse paper for last minute notaton QUICK TIPS Film Composer Brian Withycombe Perfecting your film scoring demo reel: The hardest pat of creating fa fim damo is truly showing off your range as a composer, Piece togothor a numbor of emall snippots of whet you do beet into ono large composttion. Yau will not only be showing off your compositonal strengths, but also your abilty to weave different styles and tempos into changes ~ anything you might need in case of an emargency. Get a second opinion. As eccu rate as your ears may be, they anly give you partial snapshot of how your music actualy sounds, Ack a band mato oF tion to listen to your sound check in different areas of the venue, 50 as to help you make the best decisions regarding your music. Intros and outros. Want to sound check an hour sot n under 15 minutos? Run the intros and outros of your songs, as if you were playing the gig. You'l got ta practice the musi, check the flow of the songs, ard check your music with different dyramics, How's that for 2 ‘wiplo-throat? Humility wins. Neve forget how lucky you are tobe on the gia, Somebody hizad you ta make music, and people are paying to heart. That's reason enough to oop your inner diva in chock! sc esMORE ON KEYBOARDMAG.COM Session Sensei Get Paid... Or Not ‘The music business is like the kumite in the Jean-Claude Van Oamme classic Bloodsport The only rule that there aro no rules Last wook, whan I ach't boon paid for ‘a session I did months ago, | resisted tho strong urge to call and inquire about my ‘money. tm eure my producor trend would have gasped in horror and anologzed pro fusely. | would have been told, “the check’s in tho mall? whothor of not it actually was. ‘Would this have niged me out of future ‘work for ths guy? Maybe ~ ithas happoned atore, Ae coon ae you call, you're a ‘call about the check" person. Do you wart to be vemembered as the guy who nickole and dimos, or the guy who plays beautiuly? Interestingly ‘enough, the chack actually atrived the very nee day. 'm glad | de’ call. | nave called to chase money a fow times. Ono, after about sic montts of wat 19g 0 get paid for a jngle demo, | called to inquire whore my huncrad bucks was. | probably could have boen more tactful, but | got screamed at “You don't rust me? You're dificut and money-gruboing. You"! never work for meagan! | dic’, and | also naver got my hundred bucks. ‘Anothor time | got stitfed was aleo for a hundred bucks. | called and called, and was told *'m earding t out today? or “Pm ‘on it. don't wory” Tune out the guy had en actual bona-fide phobia about mailboxes. {you're reading this, psycho sax player duo, 'm stil wating for my hundred bucks. | accept PayPal) Many decades ago, a wedding band leader | worked for pad us eash on Tues: day. Lwasr't told, howover, that you had to get to him in the morning before he went to the track, or you wouldn't get your money. | had to pay him a “porconal’ visit, and got all up in hs face. Tums out he respected this approach and I got my money. (Fee for a fourhour wedding: $40. Experence: priceless!) My new rule with hm was cash la up front before | unload my gear. We rover had another misundarstandng, | ‘noulde't recommend this method ‘The ro Ive loarrod i this they're going to pay you, thay wil thoy not they're not. iy to suse cut he stuation before the gig the bast you can, and don't sweat the details Dont wat oy the malbar, even t you're not atid oft Above all, stay cod. Tre check's probably in tho mal St kay QUICK TIPS Producer Huston Singletary Building your chops as a producer: Ty to keep organza tion at the top ef your list, both in regards to an artst's psyche ‘and the songs at hand. This comos into play rogardiess of whether you're producing one talking head or an entire band Offering solid advice to an artist's important, but keeping one ‘sop ahoad of tho next commont or suggestion ic the roal ‘challenge. Give calm replies and stay open to ideas they sug ‘gest ~ i only take one or two passes to decida what works ‘and what doaen't.a a a JOE ZAWINUL AND THE ZAWINUL SYNDICATE Upliting grooves, serene atmospherics, African chanting and singing, « stunning palate of synth tones, and some of the most exproveive key: board playing youl ever hear ~ such is, hat we've come to expect from the late Joe Zawinul, His final album, the lve dou ble-disc 75, delvers on al counts, captur: ing Joo at hs most viruosic and playful, From delightful, oddly vibrato-ed piano to unexpected voceded voicings, the master continuos to keep th lstoner auossing, and wanting to stick around to hear whet ‘qui bit of musical brliance hell come up with next. Thanks largely to @ tight suppor: ing bend featuring multiple percussionists, the songs gid and sirut w th joyous inten sty, offon traveling into tho mproviead stratosohere before returning to tightly orchestated hits and figures. A fing farowoll from a cominal figure, ids Sala (Heads Up, muwheedsup.com) £ ‘Singer and pianist Sandy Zio's album AP That im has an adut contemporary eound that well uite her lovely voice. Throughout 13. mostly original songs, Zio's melod/ous singing is showcased amidst tastetul arrangements and clean production. ‘Though Zio plays piano on many of the songs, Joel Bryant contributes plenty of Hammond 8-8, Rhodes, and Wuritzor, and John Bianculli and Ed Wall add more piano and organ, respectvely. The sin- gle worthy "Don't Stop Talking’ features Billy Joos rock sold formar drummer Libarty Dovitto, whils Jamos Loahoy's deft guitar work ~ and the aptly:named Jerry Steele's pedal steel guitar ~ edge Sparking Waters" nto manstream ‘country teritory. Sut itis Zio's pure voice that truly focuses the disc, and Ai! That | Am's sweet inatrurmental work gives her a great platform from which to showcase it fan Gam (Sandy 2.0, wnwwsandyzo.com) COLLIDE Two Headed Monster Singer/lyicist kaRIN and producor Static have been working hard since they were foaturod in those pages in June "08, and thor efforts have pad off. Dark and droamy, Collide’s latest goth:tagod album Two Headed Monster brings t© mind the work of Garbage, Sneaker Pimpe, and Evanoaconce. From the tre otic dru grooves of "Spaces in ‘Betwoen" to the bubbling and soaring synths on "Head Spin’ the band’s tracks make excollent alchemy of keRIN's floating vocals and Static's gritty soundscapes. And even though the album carries mare than a touch of men ace, there's enough pop and dance influ: tence here to keop things fun and sory. Ths is one monster worth tangling wi Wel ae (Noisepius Muste, waw.colidene!) CHARLIE HUNTER Baboon Strongin On this tro outing, 7 string guitar phenom Charlo Hunter ‘employs keyboardist Erk Deutsch to con- trute atmospheric ‘melodies, pads, and solos that take (Charlie's innate sense of gro0%e, irony, ‘and humor to a whole new level. Erik's secret? Liberal use of Casotone and ‘organ to evoke not just bygone eras, but the moments within those eras that we all ‘thought we wanted to farget. Charlie's ocoptivoly simpie song forms take on sinister undertones when rendered with the digital chessiness of Erie's keyboards. Drummar Tony Mason's beats are fantastic, and the variation in drum sounds throughout the dise are the per: foct foundation for the keyboard mayhomn. Been looking for a way to make the unhip hip? With skilful sound selection, ‘melodies simp'fied to perfection, and firstrate musicianship, Erik and Chale have already done it. Ene Naat (Spire Artist Media, wwuns.chailahunter com)MORE ON KEYBOARDMAG.COM . KEYSPACE | Key Tracks Go Instoad of focusing on a single _witharfists ranging from tho Elec- Hammond organ, piano, nd Saro exo tee outstanding keybcard album, this tre Prunes to Lou Rawis and Can- Vox, which buzzes mn your face on ‘ed rs, month's column introduces « quer nonball Adderiy. 1976's eolo tho pre-tranoo jam *Sloge! tetof lost gam, recently wwssved album Sercusly Deep was an ‘They Might Be by Dusty Groove Amorca inatrumentalfurk excursion fast “Tho oddect ofthe Giants ing a tant thythm aocton and sig bunch is surely Bil eynighbeintcom Reuben Wilson nifleant orchestration. Add to that Cosby’s Badtoat gained his reputation Joo Sample handling ARP Brow and the as agodtather of Odyssey. Clavne!, and Forde” Bunions Braoford Funeral and BAD cic azztrom histve Rhodes, and you have another lest Marching Band. Cosby has long iascie Blue Note roleaeos, Wi cassie. Every song features kays, ad an afityfor jazz, even whi son's lost classic Got to Get Your fram the spacey Rhades sole on working an successful comedy East Village On 2 groow sab ot '74 soul the epic opener ‘Mossich (vor altums and thohit TV show / Spy. Opera Company that was under promoted by ture) tothe ARP anc Hammond In 1970, er instance, Cosby even maastageopert Chess, his bol atthe time, The melodies onthe closing “Revers?” played the Newport Jazz Festival’ camgancan album fosturee not just Wicon on Thare's fat eynth base, Rhades On the 1971 album ho aye out Hammond, Gavinet, and pianc, and synth solos, and tons of wah two extended jams with Gosby but also the inmitatle Richard Tae Clay ~ end tha's just on ono song himself an keys. The fest, “Man's on keys as wol From tho opening ("1000 Reds*)! Funoral? wae nfluoneod by tho Hammond and horns blast of ‘assassination of Mazin Luther *Wibat the People Gon’ Say" Pete Joly stated out King and features some rice Billy Joe! through the deep pocket le rockng the piano modal playrhg amigst tho froskout wwe track, Wilson shows he's a smooth with trumpeter Jamming. “Hybish Shybish jas 7 player and vocalist. Ho ridos tho ‘Shorty Rogers and for over 20 minutes, ebbing and Isaac Hayes train on “Back Rub" lator played with stare auch as Mel flowing with deep funk and VY with stereo wah Clavnet and takes Torme and Arita O'Day, backed up melodic noisescapes. A trippy but ¥s tasty Hammoné solo, too. The _jazzicons ike Bonny Carer and intriguing musealjoumoy. M singelong ‘Stoned Out of My Chet Boker vo, and recorded on interestingly encugh, each of Ann-Marie Mind has flavors of Curtis May soundtracks such as M°A*S"H these unique albums have had McDermott field, whi “Togothor foaturos and Butch Cessidy and the Sun- songs prom nantly sampled and more great wah Ciavinet Let this dance Kid, Fis solo album Leaves used in modern dey hip-hop. album be lost no mors! isa toraly mprovised aftarwith a Most currontiy, Oavid Axcirod's ‘boeea nove far. Tho album start “Holy Thureday’ wee eamelod by Davd Avlrod (he with heaviy-tremeloed solo jtoducer Swier Beat on the producer ang musi Redes on tha tile rack end sets song "Dr. Cartor” from Lil cian, not the Obama course fora land of lounge. Jolly Wayne's platnum alum Tha advisor) has worked plays Wury, accorcion, Musette, Carter {i/. int Gena Unsigned Artist of the Month Kitt Gallagher if Galaghor’s album You Can't Keap ft Down brings strong, angaging rock a Maroon 5 and Sera Baroils — with toucs of Rent and boy band pop (te goed kn! own in as well The piaro driven opener ‘Now is as catchy as they come, and the EP fueled “Your Sogy" isan almost Poloo-oequo cedicer. K's soulfl pa fonor lords an impo sve sincorty to heart or-sleeve bcs, andthe elbum’s assured keyboard work supports beauty, Ard jst as mprossive as K's music is his curont day ~ founder of Music F| | National Sorvieo Intativo, an organzation that eeoke to train mus.ciane as toachore and plas thom in low income area schools. For his commitment to both music education and catchy piano grooves, Kf Gallagher's Keyboara's Uneigned Arist of the Month, Mai Cat sewwkticomARTISTS, ADVICE, COMMUNITY Take the KEYBOARD CHALLENGE Each month, the Keyboard staff wil pose a new question here. Post your answers by vsiting www keyboardmag.com and clicking ‘Forum’ Top anewers, as selected by the edtorial staf, will be publshed in future issues of Keyboard. Miles Davis" Kind of Bue, featured on page 24, was a hugely influential and transformative album when it was. released in 1959. Is there a Kind of Blue for the 2000s? ‘ETHOASD CHALLENGE JaNUAAY 08 What the iagest disaster you've ever faced gy end how id you dee with? “nysouds: Us paying an ute ami why Lat ok and. My ig es 8-3 ar ese ana (Ros) A3D ene ib MID ak Hawa hgh ur she, we ora plang Santana's “Erp (mp) when | nite the utara jist yet re, Afra few pz anes, we wera tt ewig ha wht he heck ae yo esa each oe. {nde plang organ a ta po, bt when | abet soe strings why ft and, read my Harrod ha st rans Rel by 2 ha tpl Tu out tat hen tot dar erugh te Fes wool obi ws an he ton carat tured tts. a the same ta a hy were on the same get ato ste hy WD gear was, but te Hanne snchonts treat te power dps the Harner ree up the R's kare wht i in tat, | bad came wp witha ‘set: cal up an rat soand ony land N00, ured of he FA, a cal on the mec te my ame’ preamp, ar payed "Narmada fo te rest te right om my weihtd 90. Ate the Fate, we col bu ebm Lint a jl eur in my rman aie WEEKEND WARRIOR LYNN BELLMORE Webpage: www dayoopers.com Day love boon svohed witva huge git shop caled Da Tourist Tap oar the town of sh pening Metiged.Nodone es Gait gong oni Trk cbreeehsth i We. Mow | got stared: My frat gge wor church g go. tm al a church muekian today, plying ‘the pipe organ and piano. What basically got me through college was playing weddings with pig sae lca Band: De Yoopos Wo pron mii and comody hat celsbrte the cur found in Hihigtts Upper Penna Ise urate tasking hs anl Tin cond Seg ited egal ruc, Wve have had owe ado ela oer the year nih woof ut boston unas, “Ray Cheat” aed ord Wik cf Dor Camp" Influences: |sucied casi! music in cloge, love laying county piano, nd Foy Carer was big infuses hogs fan of Eton John and ily Joo of cour. [play because: ts « wander focing to lok oul a an audonce and sce tho amdes and inher that our music brings to peopl. W's ieee dus gs re se ttt ch we gh Ones mo at Go that for peopl, which num, rakes a he roaring an planning ofthe tour schedule woth ery mint. “The See Da Yooper, 20s Ceatary Youpers bo Space ~~ Fer year, viios to Michigan's Upper Peninsula (so ‘now 25 the UP) nave been eneyng the masc and comedy of On Yoopers (te Pers ~ pet it?) you can male itt northern Michigan te eae ‘he band in pczo, at were ~ thor populer Cs are ciale at many online muse tre. The group's Intestrecoring, 21st Centar Yeeprs In Spzc, is based onthe Ftional fale of Yeopers on 2 mision ta fret the Gret Lakes am wate plates ~ including ‘he notorious Bors-De-Sprintler. “asa rel Se arcs am my ar player’ says yr. Yn mot rear teh, tat ‘se, apa sears at se reat ran sun. He be Karel... en my secant ane! Series | 2 the Rind 08 araye. tus the Bg Utrtn OOF (300-wt, e-ceame anp. | fat tat tha be -bar gepie iar”CUTOFF FREQUENCY | 1K A a ‘The Minimoog® Voyager Old School. Tha new synth with tha analog sound angina of the CAT ec) Ucn ee acc Pe esa Ce Te eee eno ee ‘modular synth rg or just craving direct, hands-on connection to their creativity! Priced between the Voyager and Litlle Patty, this moder classic makes the coveted Voyager Se Gal hes | Suc eae re ee ory Ce ea aacee) Des ce EDAMAZ ING Caught on tape and on film, two Miles Davis jazz sessions changed the world when the results were released as Kind of Blue, 50 years ago. Here’s some fun history of the recording and an assessment of its importance by many of the most important artists of today.‘When Wynton Kelly and Bill Evans showed up for a Milas Davis recording ses: sion on a March morning 50 years ago, thoy had re idea they'd be making history. Sure, ie was 2 session wih the hottest bandieader in jazz at tho time, at the studio ofthe top jazz record label. The sideman ~ John Daltrane, Cannonball Adsierloy ~ wore all up-and coming superstars. Bil Evans had toured with Miles for seven months the previous ‘your and though he found If on the road to be exhausting and had let the group, he recognized the musiemaking to be at an incredible lovel. Wynton Kely was the nowest member of the band, having just been hired 10 replace Red Garand, who was unablo 10 come to grips with a drug heb. They had to know it was going to be a good sossion. But thoy had no idea it ‘would lead to the biggest selling jazz recording of all to, consistently atthe top of tho charts nearly ovary yoar sineo its release ~ just recently atiainng quadruple platinum status for its 4,000,000th sale. Nor did they have an idea of the mpact tha racording would havo on jaxz Everyone involved in the sessions for Kind of Blue want on to have a profound effect on the course of jazz, destined to become leaders themssives and influencing 24 wkevenana 9.2000 logione of younger musicians on their respective instruments. Bassist Paul Chambers, though ho passed away too Young in 1968, was considered the top player of his era, Wth Giant Steps and his later, more spirtual works euch ee A Love Supreme, John Coltrane became one af the greatest of all jazz musicians ~ right up there alongeide Miles himself. Bill Evans and Wynton Kelly each had theit ‘own cone derablo etfect on the flow of subsequent jazz history: Wynton for his tasty parfection of the bebop idiom and hie dedication to ite roota in the blues, ‘and Bil for his boundless imagination and sense of beauty. But no one would characterize any rd vidual contrbution to Kind of Blue to be the dotintvo statomont of ary of those ind vidual musicians. In every case, their bost ‘work was yet to come. Yet collectively, tho playing thoy did together during the two sessions (March 2 and April 22, 1959) eclipsed the effect ‘f their subsequent luminous legacies, What was it about this band, these five ‘compositions, and that mament in tno that set Kind of Blue apart from other fan tastic jazz recordings? On this end tho folowing pages, poruse the fabulous photographs taken by Don Hunotoin et tho Aprl 22 g9esion, Youll e00 ‘reativiy in action as Mes and Bl confer at the piano. Mull aver some ofthe interesting history in the True Blue sidebars. Cormpere the Kind of Blue experiences of many of tha _groatoet koyoardists today ~ quotod on the following pages = with that ef your own Check out our Kind of Blue lessons based ‘onthe recording teot (page 48) and whore you can take the sounds on Kind of Blue in tho future (page 36). Most mportanty, co ‘grab a copy of Kind of Blue and put ton, Let itll you everything you need to know. maa BRE: MOPAL MILESTONE Was Kia f Sve theft time jz mel inpoiston? Me, Medal inpro~ in wich players base thir ena on al the avis ofa made ‘re slow harmonic regressions, a8 opposed to ‘cord tntes ever ast progressions ~ had heen sriningpoplertytrooptont te eat ts. Wy wa mal jaz ating poplar? 1 was party 2 reaction ameng musicians to the vit sie display of cons in bebop. By feeusng 08 medal material fr tel soles, musicians could think more meloieaty as they imported, Were there ather atts hesifes Miles using te medal approach et tht ne? Composer and pienatGeerge Russel, McCoy yer, il ran ruses wediti. Inspired by the past = built for the future In tne beginning, syntnesizers weren't about presets ard using the same sounds as everyone else, They moron't even about creating your own sounds They wore about creating your own original synthoss systom ee eee el Pie eee ee ee ee eee Cee Cee ee a Re ee aa ee ee ae nan ere ee Pea aeMichel Camilo: Besides being the most important jazz recording of all time, Kind of Blue opened a whole new world of melodic and harmonic possibilities, which helped define the concept of jazz improvisation and composition as an art form. Why Wynton get bent et of shape wen te the studio? Miles had tl him i be atthe sessin. The prebiem? Bil wes V's prececeser in he band. Drummer ima Goa had ta calm him dew before they ‘got the ecording underway Wyn was mostly ‘soncermed he woulént get pai since Bil wes aleady there, which meat he'd hae to tke the subway home instead of a ea. Did Sl play en moe tunes then Wyatne? Wes, ‘Wy played ony cn the Fit fe af the Est season, “Freddie Freeloader” Bl played on “Sa What” and “Bue in Green” is Bn get pad mere? No. They each got ion seal ~ S457 ~ fr the session, Fred Hersch: Though Milos Davis Friday and Saturday Night at the Blackhayk was tho albury that got mo addicted to jazz fest (W4yrtan's comping behind Moe 1 fantae ticl, | heard Kind of Blue eaily on in my |je22 self education. The tracks that | eae ‘eoming back to aro “Bue In Greon’ for Evans’ superb comping and Mies’ sound, and "Frodie Freeloader" for tho unbridled Joy ofthe solos by Wynton and Cannonball. Benny Green: t's a magical recoréng. Every time I hear it brings new discovery and amazement. The ecoperation and mutual respect in the way the musicians support one anather allowing themselves space in conversation, isa lesson hn graco tomo.I's.a mastorpiece of gonius, soul, and simpl city Gonzalo Rubalcaba: Tho nome, noces: ‘iy, and illusion of oreating, withn one or various musical forms, a language of ‘sounds, colors, rythm, gestures, and physical and intellectual attitude resulted in the acceptance of many 28 a recogni: tion for their own nerve, illusion, and ‘moi indoad bivo in all sonsos: an appar- ‘ently tranquil exporience which engulfs me in an impression of calmness, which is nocessary to koop on searching Kenny Barron: Hearing Kind of Blue was ‘an opiphany ~ an nerediblo eye-opening recording. What stood out for me is how ‘both pianlets used space: Wynton Kolly hhad more fre and Bill Evane had a way of voicing the chords, What they had in com- ‘mon was thatr sone of taste: just tho rght notes, just the nght rhythms. couldn't wat for the next Miles Davis racord to find out what we do next Il Goldstein: Moe’ concopt for Kind of Blue wes to rebalance the amount of time allotted to each harrmane atea, He put a lot ‘of responsibilty on the playore and, ae hia bbands would do again and agan. they ‘appliad themselves to the challenge and ‘created « tmeless expression. Mies was a ‘master of creating environments that core the freshness that comes fromm music that is created exactly n the moment. That's what we respond to 50 years later Andy LaVerne: In 1959 Miles and his men recorded the transformational Kind of Blue. Fifty years later, all the players are jazz icons, all the compositions are jazz classics, and it still sounds simply sublime. 2% keveoana 05.2008 Jon Regen: What makes Kind of Bive ‘such a landmark recording for me is tho fact that the music s both serene and ‘soarching at tho samo timo. Thoro's & real sense of discovery in it. “Blue In Green” is in itself a master class in har ‘monic conception. | think the album is incredibly impartant, net only because it contains what are now standards in the jazz repertoire, but alae bocause t serves as the gold standard for the musi ‘cal jounay that a record an tako you on. Half a century later, it's just as relevant as when it was released, Danilo Perez: To play a model ture with your ov voice is oxromoly difficult, bbocause you have to keop the strongth, qualty, and variety of your musical state: ‘mont flowing at al imos. Kind of Blue not ‘only succeaded in sounding as if every solo hhad iyi, butt also created a road map of ‘what wos next to como in jazz, The combs ration of Wynton Kally and Bil Evans cro ‘ates a power of contrast in voicing, soloing, ‘and comping that ie 6 must for every piano player ta hear, ‘Al the tunes were fist take? Fear weve the fmt falta, yes. These were @ numberof takes for each tune that were stepped because of clams ‘nd yt section miscommunication. the fist session, Freddie Freelander” had hve alse ‘tarts, and “So What” 2nd “Ble in Green” had ‘bout five fase starts each. nthe second ses- ‘en, "Famence Sketches” haa fewless tll, fiat take that hecame the bonus alternate take ‘on subsequent risue OD tok fire more anoried tin to gt the second flake, whe ‘was aaued onthe eriginal recording, "Al Blnes” had one fle start beer the band lle the ‘definitive version art of te artistry ef Kad of ‘les hat el the tracks have that “first time {oo which pees a sense ofthe ‘music bing create completa teeNCR Ge Sire froascieouien eetdnaialfajen ripe SHIDR meu Sean HINGES oie 1s Pisa) Papa Pas ba) Deg (a) Mega-expensive touring systems sound so good because their sound is processed through racks of sophisticated digital signal processing gear. We know. We'te one of the companies that make those 24-bit outboard speaker processors, [Now BEHRINGER has applied a whole chain of DSP including crossover, dual mode limiters, dynamic equalization processing to superaffordable twelve and fiften-inch ative speaker digital signal systems, Powered by high-efficiency internal amolifirs : with 2 hefty 600 watts total output. processing. To hear the B41 2DSP is to be totally blown away. By keeping signal processing in the digital domain, it's able to delivera whole new level of accuracy — as well as butt-kicking dynamics and smooth audience-wice dispersion Log on for the complete story or get your nether parts whoopedat“ a BEHRINGER dealer today, GBB 2 ap eer tens (GEHRINGER| beep www.behringer.com B412DSP. 600 watts of whoop ass meets the ruler-relatively aew rand of ecedig tage atte fine ~ Sette prove ta winstan year of sterege without etriorten ssl was thes, whereas the woe prevaeat Apex tape tended to deteriereo ver the yours, Did they use the wrong rel te master? Yea Oa the origina pressing, 2 safety el was ase fr ‘he waster that hed heen ona miscaliated sachin, estig ina Side that was bit higher than 4-840 Those of you who tied fo py ang ‘wih he receding ne dvb endured seme strange {unig senaticns ~ o you slowed your untae a Ute or tuned a dintalteybearé a ti her in der to make match the recording In 15, the dsc was remastered fom he correct alvated maser wel so subsequent easues are at A440, Jett Lorber: Tho phrase that cosctibos Kind of Blue s elegant simplicity. Most of tho songs ae vary smpo structures and yot tho musicsene play thom with a0 much taste, fnesse, and creativity that this record stands out as a jazz classic, one of the ‘greatest aver recorded bath ertstcally end ‘commercially. I's a racord that came at an interesting time ~ tho ond of bebop, the beginning ofthe influence of the modal jazz ‘concept ~ but ithas a qual that transcends all thet. The musiciane sound clear, confident, at the top of their game, yor ogoloss at tho same timo. David Benolt: Listening to Kind of Blue puts mo 2 space that no othor recording is able to do. I's mesmerizing, transparent and yet elegant and soulful, The musical interplay betweon Bi) Evans and Mes ie ‘especialy brilint, This ranks as one of my favorte recordings ofall imo. Inevor gat tired of hearing it Ricky Petorson: Even though | was young when the record came out and I was tying ‘to understand the language of jazz, this is tho fit record that made mo woop. Wet an incredible time that was, Billy Childs: Every once in a while, @ recording comes long that represents a cchango in tho ditocton of an ortire gore ‘of music, nat just a change in that particu lar art's musical direction. Kind of Blue fone such recording. Ae a pianist, !am espe cially struck by Bill Evans’ contribution: the 20 kevenana 9.2000 Renee Rosnes: Once you've heard the music, it’s etched in your mind forever. Kind of Blue is like a masterpiece painting. ‘economy, clarity, and depth of his ideas, both as 2 soloist and accompanist. Rachel Z: Forme, Kind of Blue isthe foundation for how a jazz pianist shoulé ‘comp. Bil Evans! voicings are the ternplate for how to voice rds modally: He showed that you could use any combina- lion of available notes, and made color moro important than chord structurs, PIANC il Waste plano in Columb ls 300 Street Stucla spo a1? Wel at of great muse got recorded im that Steinway, which you se inthe pots- graphs of Bil Evans and Mies Davis throughout this insu. Duke Elington wed it on sessions. vas aso the pian that Dave Brebeck recorded is mast papular albums on, eluding Yime et, He recaks the piano as elways being in tne. Tape engines ch Walle is sad to hare recalled that “arubock bet the a™t out of it” Orrin Keepnews: The clear approval of his ‘colleagues in that band not only improved Bil Evare' salt eateom, but aloo made tho professional jazz community (which is one ‘of the most snobbish in tho wor) start really listening to and accepting hm. This ‘was also a marvelous period of musical intorralationshyp in which Bill contriouted richly tothe development of the banc's modal concopts and collaborated with Miles to a degree on several composttions. Joey Calderazz0: Kind of Bive is an absolute classic. It was one of the frst Miles records | bought 30 years ago. stil fool's one of tho most important records | conn. I's as perfect as muse gets Aaron Goldberg: Kind of Blue ronows my love effar wit jazz music wih every repeated Istening: mproyational ganus in the convice ‘of fesing, creativity atthe behest af mood For musicians, a sho full of Mlos offers va ied troaeures of metching value, But or pure music lovers his album has no equalCyrus Chestnut: To me, Kind of Blue is a timeless piece of art that could give anyone a very clear musical explanation of what jazz is all about. Chuck Isracis: Liston to how many ways Bil fnds to articulate the ostinato gure & "Al Bluoc! It ho loft a possialty unoxplorad, 1 cart find it Kenny Werner | often relerto Kind of Blue asthe qurtessential ensemble aloum. Milos Davis roally know how to maka a record, When | put Kind of Blue on, tjust pervades my the gteatost eolecta ofthat timo (or probably any time) are pleying oni, the miracle ofthe Work is that the soloists wore never the ‘focus. For mo, tho group sound trarecondod ‘even those solos, which is an aesthetic that | have asprad to achiave ever since on my own albums, 128 and fils the room. Even Lynne Arriale: Kind of Blue is an oxtraor diary abun. It combines simply, reat ‘depth and sophistication, and t speaks rectly tothe heart and soul, The music ‘creates a feeling that is beyond what ‘words can doveribo; thera is an organic quality tat It's uly a transcendent work Hal Galper: Giving crodit whoro crodtis. duc; Mies’ “So What erignally an Ahmad SHU HUUE: FROM SKETCHES TO STANDARDS Were the anes rears before the stsions? Mot realy. Al Blaes” had been gen npromptainvadueten tthe world oa. a flv date, A the sessions, les ten the band through the heads. But a the time of te recard= ng, none of th tunes ad names; Mes ean up with hese after th sesiens; and forthe album, 50 wile for that te. fae, the working title of Remeace Sketches, ata taetous one, vas *Suface Mise” named for tecnica probe Jom with recording tat woud armaly cl for 28 shart ihe. Did Miles write ll he tunes? He gt the ‘eci,but its prety certain that “Blue Gieen” and "Famenca Sketches” were penned by Bil Evans Ave the tunes sl played? AN Bes” “So Whet” and “Freie Freeloader” have been jace standards shunt since the release ofthe abun, Yul offen eecouner them a jm sessions, Jarra vamp intrude on recording of *Pavarra changed the ace of azz, opening the music to word infuoncos. Folewing Mis lead, Cotrane's “Impressions” ~ another of Jamal's"Pavanr" vamps ~ dsivere the final blow to the conservatsm of the bebop era, ‘Marc Copland: In addition to boing a Unique trumpet stylist, Milos hadi a perhaps unmatched knack for putting together great bands. He'd end up lead ing somo of tho wor'd’s bast musiciane in an environment where they could play and compose at an ostremoly high lovel. And he attanned this rare level of Band creat ity more than once. I don't know we will {vor again coo that done so many timos by one musician. eee rears Pre eens td vein oe ei nn ries prt rae) PSNBill Evans: [fom our 1980 interview! I go in and do the best job I can under whatever Grcumstances, during whatever period of my Ifo, wrathor it bo a low point or a high point, troublesome or whatever, just have fo go in there and do my professional best, my aitstic bast. Tho Kind of Blue album, | know we just wert n and did t, and sore ‘of the material was ma way at that time, not KIND OF AMAZING by romarkebly new. But in some ways twas comewhat of a diferent challenge for somo of the musicians involved, to play on one chord fora long timo. And the mood of the album was a litle less straight ahead and outgong ton some ofthe things, but twas something everybody could handle, And | remembar wo just wont in and did I eertainy never expected it to have the mpaet that t dd. Bill Charlap: Kind of Blue is poetry. ee LUE: RHE REAL STORY How can you Bad cut wore? Pek upa copy ofthe amaz- Ing ind of Bie The te By ing the Mes Bass TESNMe | esterioc, ny Ashley ah (Ua Cape Press, 200, 224 pp, $28). Along with our ‘wn extensive files of ntariews with Bil Eras, Kaha's book ithe source for much ofthe ‘maton in this atc. Fara special text, get 2 apy of Kind of ive: Sta Anniversary Cafactor's tition (Soy, $1085), which in ton te te remartered arignal tenes on CD (plus outckes and stud chater) and on 12" LF, ncades @ fantastic Hustated bookie, «new essay by Ashi Kata, a ot adional tracks reared by the band et 1956 session, end OVO can- {ainng intervews andthe cemplete broadcast version of The Seund of Jazz," TV show thet featured the Sextet with Wysion Key on pana and 2 larger tant perfomance eanducte by it vars dif you've never hear Kind f Bla, do sourel «favor end pk up eopy. Tats the Dest place te start. The Marriage made LOS idea d aeBUY THE SO Nd YOU USE an te er mc Ones ee a a Cee re Ce Re eM Ke software community made it possible Mee Beet em Tae 2) If you want to make sure there is SC ee SU a Neer oo It’s the smart thing to do- www-imsta-org PO a ceca ac Pomrterenrciei ent aierr ett eer eesti spy elope datos al a pl redMCCOY TYNER The jazz piano giant returns with guitar-centric collaborations »viiss sas In my contact database, ho's found under "Piano Gawd" = and my classifica: tion af McCoy as jazz divinty i far from unique. From his groundbreaking early ‘work with John Coltrane to his multe: Grammy-wnning solo and bandloader albums, McCoy continues to stand as a truly unique voies in the world of jazz piano. Unexpected and vibrant quertal voonae, percussive left-hand slams, and bold, angur lar molody lines ~ his style, oqually earthy ‘and soaring, is unmistakable. Most recently, McCoy joined with somo of tho world’s fest guitarists — John Scofield, Derek Tucks, Marc Ribot, Bill Frisell, and the album's lone barjois, Bola Fleck - to record Guitars. Supported by Jack Delohnette on drums ang Ron Carter on bass, MeCoy dances with each six string star, roinventing clas sic tunes Ike ‘Greensleeves! "My Favorito Thinge} "600 Milos? and his own. rollicking “Passion Dance” We racently caught up with McCoy to discuss Guitars and guts, composing end ‘experimentation. Who's idea was it to play duets with such a range of talented guitarists? CCotloe Santana and'| havo known each ‘other for yeas, and I wrote a song for Carlos ‘when we worked together. I remember wien Iwas with John Coltane, we recorded with ‘guitarists as well, sol thought it was ima for mo to do something like that again. Ivo been using homs and such for so many years, 3o why not by using guitar more often? Did you have to adjust your style at all ‘to work with your guitarists? va.e008 kevnone Ite a funny thing, because piano is string instrument too, and I found there's a con nection there soundwise. It was easy to ‘eroato tho marriago botwoon tho instruments bacause of their natura ‘There's some realy nica compatbiy. Were any of your voicings different ~ less dense, perhaps = to make space for the guitarists? Itall depended on who it was. In order to ‘make the marriage work, we did have to ‘mako minor adjustments. We listened to ‘each other and played more sparsely, as ‘opposed to laying down hoavy harmonic thngs, so we wouldn't confit with each ‘other. We had to be very corse ous of what ‘we were both doing, becouse you can't do the sare thng at the same time. How did you approach playing with ‘such a diverse range of collaborators? Some tracks are very straight-ahead and clean, but Marc Ribot's playing is definitely grungier. Conceptually, Marc was more “out” had t0 bbe conscious of that as wl. Ihe wants to your excuse? Blorm: December 11, 1938 n Phiksdolphia, Ponnsyvania. ‘Age when he started playing with John Coltrane: 17. Early landmark jazz albums he played on: john Coitare, My Favorte Things; Senay Golson ard Art Farmer, Moet tho Jaztot Other major Coltrane albums he's played on: Live atthe Vilage Vanguerd, impressions, ard A Love Supreme Number of Grammy Awards wont Fou Motivation to finish your album you've been working on for years: McCoy has released nea 60 albums under his own name. What's {90 04, have to go with hm! He'd aloo laton to me very wel, and he could match what | ‘was playing, That's ono thing Ike about him, ‘You've beon playing some of the ‘songs on Guitars for years - “Passion Dance!’ “Mi. P.C.? and “My Favorite Things’ for example. How do you keep those songs fresh each time you Play thom? You must realize every day is different. We don't want to compare today with yester- day, even though there might be some things you do that could be similar. But t's rover tho oxact same thing. ! may have developed that concept bacause | play the type of improvisational music | play. ry to ‘onjoy the romant and soc what today has to offer. This music exposes that sort of thing, taking armoment and sceng what you con do with it. ‘When you sit down to play “Passion Dance” or "My Favorite Things? are you literally thinking about something that makes you passionate, or some of your own favorite things, and tryingA Selected McCoy Tyner Discography With John Coltrane ‘My Feeate Tings (inte) eat the Vilage Vanguard (apse) ‘A tov Supreme (impulse) Asa solo artist ‘rcgtion {impuise!) The Res! McCoy (Bue Note) ‘Satara (Wilestne/030) ‘ident (Wiestone!950) ‘Dieasians (Eker) ‘ew Yak Reuniow (Chesy) ‘Aa Bu (Tela) Guitars Hat MatelMeCoy Tynes)MCCOY TYNER to play what you're feeling through your fingers? Consciousl thinking about what youiro doing can stymie your creative energy. When you take that time to think about ‘what to play na gen moment, the moment's gone by. You have to do some: ‘thing at that instant. Maybe if you hear ‘some sounds similar to something you did before, maybe you do it, but you do it differ ‘onty than you did last time, When | played “My Favorite Things! when recorded it without Jobe, Ididn't want to sound oxact ko it dd th fret timo. But then again, threw in some things that were reminisoant of the original, thngs that Irally 'kod that l did with him, oven though | didn't ‘want itte sound the | was tying to copy ‘what had aeady done. Itwas nice rem niscing about recarding with John when ‘was recording Guitars. That was a great song. John really kad itand I think wa al payed great on the orginal recording ‘So when you're sitting down and Pras Moy Teer hat «peta ches unique and alerted cuted, amrget hem master {ap der Svin love, the an behind te Bhoatvay show Bing in Wie, gin Fan Thi pesarmances ae at - wih Mey seaied a he pen an Savon tapping 00 ‘he or nary, the wo jm, erating a wique and expres itp. “Tap ad az work wel ogeter italy” sy May. Savion eves the msi He dans ‘0 wel with is ea, an his yt felis ‘excelent He listens to everyting, play pres thts vet, es it on ta ef Hee ‘very attentive ad is very fed MeCoy he 2 baekground in donee nines. "Gene Kely and Fed Astaire ~ back in the day ‘sw their evi and Leal enjoyed then,” he ‘ys “T hed 8 wonderful ohdhoad in terms ofthe ‘vaiey of musical situation asin. Oe of my ‘acer in juni high soo, her friend owned ‘the ano: ochot, They sad hey nested some sale dancers ~ Fn masiian! But Iwas glad ‘want twas ali. id Aeandaning and some bale actly. There's lt f greet mas sacle with it? Would MeCey oer consider swithing things ith Savon onthe piano and himself dancing storm? “Hey, that'd be a grat shew” he ey, laphig. “We'd have tralian thet” ah wevnaa soloing, you're thinking about nothing ‘but the music and the moment. ‘Ys, you don't havo timo to fquro out any- thing because the moment is of the essence. You have to keep your mind end hhoart opon, go for t, and soo what you ‘come up with. Its good because it leaves room for exploration, Considering the level of mastery you have at the piano, do you ever sit down and think, “t’m going to come up with five new voicings for a haif- diminished chord"? Absolutely not. You cee, when you think ‘about things too much, it slows your growth, if you think about this chord here, hot it, how to play it, it can got in tho way. over the years, you have experimented wth varus voicings and things, you use thom as building blocks ‘and you build on those sounds. You don't have to disregard anything and say, “Wel | played that years ago. | can't use it" You ‘expand on what you've done, and you don't have to bo conscious of If you're like, h may god, im gonna play this C with this FR, and if add the B with itin ancther rag ister, tt create a very wide space’ tll cet in your way. You have to just play &. Youve probably played that voicing bofore, or ‘something liko i, and it was in your mind, You can’t be conscious of it because you ‘mise the momont. So Is practicing the time for conscious thought? | don't sotualy practioo that much. | com pose, When I have a session coming up, | Usually keto write naw songe. Uniges fm ‘making @ conscious effort to do a rocord ot standards, | prepare by creating new materal This s improvised music. You put creatity and spontaneity into it. For ma, composing is The playing — you're just slowing it down, end putting dfforont things togather. Really, composition is the same as Improvisaton, excopt you write it down and piece ttall together. Sometimes it comes ‘icky, but sornetimes t takes te For players who are trying to get to that point where they can completely let go at the piano and play what they feel, is it more Important to just get up there, do it and make mistakes, or to sit down and really study? Mako mistakos and loam! 80 advonturoue! That's portant. f you play something and you're not happy with it, you're going to ‘add thie or subtrect thot. And that’s good. you plan everything, the moments go by ‘and you miss out. if you jump In and ty t 2 lot, you'l got good at takng chances. I's a Creative risk, but you get used to it. That's hhow you como up with new things and dis ‘cover yoursolt. Ht sounds like you have to have supreme confidence In yourself to pull that off. ‘That's how you do it. You develop your con fidence by taking those plungos. It you don't do it, you don't develop confidence in yourself and you're afraid, W's all about feat Don't 60 atid to tako tho plungo! I's the when you learn how to swim 28 8 ‘ud. Sometimes the parents throw kids in tho water, of demonstrate what they shouid do to propel themsalves. They'l put them inthe ‘water, and before you know @, the kd wil understand what ewimmng all about That's alesson in fe. Don't be afraid to learn hhow te propal yoursaif and tako chancos. How did you get over your own fear? Fist of all, the people | playsc with helped. ‘Working with John was great for mo. At ‘some point, he really begen to delve nto an ‘area where | had co just folow him. He became atonal. He started moving to new places and he would play phrases where | hhad to put some harmonic thing ‘underneath, s0 it sounded ike we were ‘moving together, but atthe same time, free wae good for me. ‘Can you remember any times when you've taken a risk, tried to play some~ thing differont, and hated it? No, when you stat thinking about it, you tealize that there's vaiity in whatever you play, There are no mistakes. if you're listen ing to the muscians you're playing with, you want to bo compatibie, and # you're trying to come up with something together — that's the purpose of playing and creating harmony wth othar poopie, Espoo ally in this art form, i's Ike boing a painter. He has @ litte slab of paint, throws it on the ‘canvas, and thinks, “Oh my god, look at that color! He keeps adding to tand, before he knows it, he has this whole thing ‘acing on. He took a chance and made art. You can apply that lesson everywhere, ‘You can't be afraid to take chances. if you don't take risks, you may never have @ happy ie! WTOOLS “vorors FOR. CREATION «~" } i i Cod Re Z| preeae nn ce decent Aa ae cece a 4 Ce ae ei ce eee ene Get customized solutions. offering a comprehensive line of pro audio geat, such asa wide range of microphones, mixers, vocal processors, studio monitors, Se ee ee oe | assistance of aknowledgeable and friendly sales staff ee eT) reste ecumerc) ack et CL) Be ete CL nag eee eee cereear audi of Mussel Frente playing these and cer examples, plus complete vertions of Mit Heapes’ way coe rangement at wew.seyhémapcem. Bill Evans took sounds he loved and turned them into new sounds; here’s how you, too, can find your voice in the voicings of others ty vis tapes wt Aisor fore Bill Evans" huge impact on jazz is no mmystoy. Since the roloaso of Kind of Blue, his widespread influence and ground broak ing contrbutons to jazz include the expan '8,0n of tho piano trio concopt, early modal ‘explorations, and his unique eppreach to voicing, touch, and comping. His thoughttul ‘and afteuiate phicsophies of improveod music are themsalves stll nspiring, too. | don't mean this a6 a passing remark. I've been developing « course at derklee Collage of Music focused on writing in the atylo of Bill Evans, and evon now ~ 50 years after the release of Kind of Blue and neatly 30 years alter his passing ~ | find his musical imavatone to be just as relevant and inspiring as they ever were. Whie Bill wae alia, scores of great pian sts wore heavily under his influence, yet managed to ‘create theit wn style and sound. How can yYou absorb sounds played 80 years ago ‘and take them in a new direction, without sounding dated or ko you're an mater? Yellowjackets keyboardist and ‘composer, Russell Ferrante, ties to steer aspirng musicians away from simply play: ing transcriptions note-fornote, "Don't just ‘copy Bil Evare; ho say. Find tho urdoriy- ing principle of his ideas and make it your ‘own, What scale used? Is there a pati LUlr skip in the melody from tho vancer ‘ton worth exploring? Get past exact replication oF loaning by rota, or you may ‘got lockod in. You con uso tho principtoa you dscover as keys to unlock what made it sound good te you in the frst place. Are there other voiengs of chords, scales, or ‘grooves where you can apply the idea? “Wes ko knowing a math formula’ ho ccontinies, “You can just pig inthe mum ‘bors and it works. Buti you don't undo ‘stand tho principio bend it, something © ‘missing. Why not find your own fornia?” Bil Evans hae hi cwn thoughts ebout innovation, wrich he shared with John Mehogan n'a 1988 inowiew for faze mag- ‘2. havo load from ovorybody in tho ‘sense that when heard something that {hed, twas frst of al inspired by the fet ing! he said. “And then | would try to find ‘some way to organize the reason for what hhad happonad in such way as to apply i 1 A of Bt inspleed 2 legion of plana Innovate 50 years aga, How oan you use It take yout ‘on next segs? Fin something that “So What” chords in achromatic exercise with "ian fourth blow the bass notes, bs your et and ase it ina ferent way, such ax plying the tens” cadence. Feel ree tn add he notes & g AenRErRERE an pereteeetertee to my own thinking. In other words, my doe wore built on a body of prveiplos extracted from other peoples’ eas ‘When you listen to BI Evans play Whathor ae soloist, a sideman on King of Blue, or bis groundoreaking tro setings, it's his unique voice you recognize. How can you absorb oxtomnal nluencas and etl mais tain the integrity of self-expression? What ‘tops can you taka to find your own voice? So What? Lot's look at Kind of Blue to find somathing to inspre or challenge your conceptual framework Any now sound you hear, any: thing that attracts your sttorton or moves you in some emational way, is worth expior ing. Let's use the famous “So What” charde te create an exerc:se thet will get you thor ‘oughly famiar with the foe! and shape of the rootioes etructure. Seo page 46 for a bereakdawn of the chords, i they're nat ateady under your fingers. For sknpliltye ko it the exero.90 to the top four voives, which make a @ major triad over an A ’bass note. Once you become familar with the shape and can move it around over different pattems, ty this same exercise as tho onginal ve-voice chord with the added fourth interval below the A. Give Example 1 {ty now, and see f this kind of approach ‘might load you instil other drections, ‘Aca your fingers ford ofthe "So What” chord now? Lot's add anothor of Bill Evans’ skils — voice leading — into the mix and soe where that takes us. Example 2 (noxt pago) takes tha “So What” chord and tums them into a simple yet beautiful IEW cadanes by adding the simplost bit of chromatic voice leading, Now nstoad of ‘nwo modal voroings, you've got a iV in D ‘complote with an 7, foliawed by the camo in C~ without roots, of course. Note that the orginal structure (three fourths with a thé on top) is rovoreod inthe fal chore (thied under same three fourths on top). CanKIND OF BILL {you imagine other ways to recast and ‘exploit these two chord shapes? Bill Evans ach vod his sonorous vole ings partly, as you've seen, by omitting roots, Miles Davis considered him as one of a fow pianists who cicn't only play tho ‘chord, but played a sound. Herbie Hancock attriutos hearing the modal concepts of Evans’ solo on *So What” as a turning point in fis own approach, Chick Corea heralds him as one of his main ingpirations and 4.4 One f Bil Evan’ signature echoes waste create new sounds by omitng the vot i Ex. 2 What can you edd between the “Se What" chords? Here they are ina vice led cadence in Play this exercise using oie starting chars from Example ¥ and reauve to ote key center, em? ar Bm? a? 28.9 rd oicigs. Rese Fecal lakes this ie ‘stop furor with hi attanton a vloe fading. This 1 exalt ues raotiss woings and simple, but fective, wee lang. mig tabs cinaye come Fish Bhima Bhs ebta}e Abmage Abs Dbtahe aba acknowledges Evans’ grea! musicianship as a factor in his own musical development. ‘Another greet player wn is under the sway ‘of BIl Evans is Russell Ferrante. As with Horbie and Chick, Ruse influoncos many playors himsol, ‘Saxophonist and composer Bob Minor onco described Ruse’ voicings to me as huge:sounding as e result of his adherence to the prineplle of non-doubling, In other words, you can achove a big, clear sound with femer well chosen notes, as ‘opposed to doubling the root, fith, or other prmary guide tones. Guess who alse lived by this principle? Right. Bl Evans. In Example 3 above, Russ shows how you ‘ean combine thie ides with the concept ‘simple voice leading to ereate a very bboautful and unuaval i:¥-| cadones, The first voicing is a drop 8 Finaj? that func: tions as a rootless voicing of Ding. Plus, points out Russ, ‘the fith isn the bass of the end | chords with b9 nthe bass of the V chord” m9 Gto}e Cmais JJ Now let's crank it up 2 bit. Example 4 (elo) rakes the ideas in Example 3, but row in the right hand, Russ makes the voice leading go up instead of down and ads chord tano moverant that makos the whole thing sound downright melodic ks there anather way to move this voice lead: ing smoothly? How about daccending dia tonically chromaticaly, ot in thirds? Goodehord for Good Tunes Mick Goodrick's Mr. Goodchard material thas been featured in Keyboard in the past (opt. '03, Jen.'04). I oro a framowork that musicians can use to explore voice lcd ng through progressions that cover just about every imaginable potential com: ‘bination of chords. Russell Ferrante could bbo considered a devotee of the Mr. Good: ‘chord method, but what he comes up wth iows everyone away, most of all Mr Goocchord himcet! In Excroise 8 (oppo: site, Russ has taken one of the progres: sions and inital chord voicings from the nis othe retleeswicings af Exmple 3 by ating chord tne melodic moverant and anzending vice lading in the vght-hend pa ome F199 ebm —j 4 1 J Bho Ebtsbe Abmais Goodchord material (Cycle No. 4), and added his awn melodie twsts ta the voice loading. "Thero’s a rule goveming each voice in Cycle No. 4 he says. "The roo! holds to become the fith of the next chord, ‘another root moves dawn stopwiae to become the third of the next chord, the third bacomas tho root of tho noat chord through a descending diatonic neghbor tone, followed by an ascending diatonic inciroct approach up a thrd. Finally, tho fifth becomes the doubled root ofthe nest ‘chord through a descending diatonic reighbor tone followad by a descending dlistone indiract approach down a second” Sounds a bit complex; let's just play Exam ple 5 to sce what he means, Exercises are great, but as Bil was, 0 Russ i all about music. Example & (opposite) is an excerpt of Russ's left hand accompaniment to ‘Stella By Starlight" (tho full version is available online). This progression is a bit diferent from the Circle of Ffths progression in ‘Abo Dbtche abmajo Jj[4.5 fssel takes the vice eng in Example 4 an tees i to ll fer svices in ath hands with this pois = 4 ¢. Common tones are rican tis approach that goes aun the Cirle of Ft EET Wt ion Example 5. ‘On the first chord, Emin7/6; oxplaine Russ, "the Bl, dose the fifth movement that becomes tho root of the neat chord, and the root (E) moves down stopwiso to become the thed of the nest chord (A7). Then, mov ing to Cmin7, you can alternately decide that the third and tho root of Eb (ootes G and Eb) are the fith and minor third of Cra or that the fifth and root of Eb (notes Bb and Eb] are the minor seventh and minor thrd of Cr Ite easier playod than doseribed, but ‘eke the time to understand th’ process. Look at each voce in Exercisa 8 and seo how it moves. Fellow tho eamo process for both voces in Example 6, Russ says there's ‘a choice you can make at the and of avery boar; his soluton shows just one option and: the subsaquont vocedeading outcome. Ty tho othor chotooe and 200 whoro thoy loa. After you werk with Russ's *Stella* exercise anough to get comfortable wih the conceat of choosing and controling two vaises beneath a melody, try same variations on the eong’s forms. For oxan ple, how would you change the voice leading the chords in measure 6 were Din? tor tho frst two boats anc ymin? to E47 on the last two boats? What measure 9 was a G7aug? Does the tone din shod chord (Bhdin?) in measure 12 alter the melody? ‘There's No Harm In Reharm Anotnet technique that Bill Evans used to create his own vaice was rcharmo- nization. He was particularly adept at it, bie to croate atorators toa tuno's orghal har mony in short order, ctten inthe stuco just belore recording a tune, His rehaero- nizations aro sc beautiful that whon pley- ing standards that Bil perlormed often and recorded, most musicians use his ‘changes, rather then the orginal ones, (One of my favorite Bill Evans roharms is of “Spring fs Hora! which you can hear on The Last Waltz, Toward the end of each A section, the melody luces a vary simple asconding scale to ‘open the melody that originally s harmo rized by a single chord per bar. Evans! penchant for a more fully harmonized melody Ine is evident in the way he fils Up tro space between the mora sparso orignal changes. In other words, he puts a new chord on evary beat, Check out Examplo 7 (bolow) for a taste of how Bill would approach reharmonization. Example 8 (nett pags) shows my rehar rmorizaton ofthe same tune (ull chart available at wwwkeyboardman.cor), | uti liao a sores of ateating chord typos, ‘mostly hybrids and polychords. Bear in rind, the targot chords after the sections 0 not shawn here, but are a dating factor in my chowces, Hopefully, you wi find 4.6 Using change sia thas in “Sila By Starlight” Russell applies the vace lang in Exanple $ tn righ-tand part s tis comping or composing? It ust seunds god, Ex Lin addition to bis lever une of rants w ged syd add pg bivetep pe ete sre abt shea ews on se JD ay Jy gs and belie vie lesdng, il Evans created a ‘nigue sound with vs imaginetivereharmaizains Hre’s tate hi eh ol “Spring Hee itt = The Radial ProD8 - Power Tools for Power Players x 5Dy Ue Cena) yay GLa Pee ae eee ted Seas eeerre peat pe eran peererneirienerre et polees peselopierts Locrieenap nearer patentee ante BORDERS. KIND OF BILL Ex This rena ideo of “Spring ls Were” anes «inte of sing types rm varied chad amis == Ex You canst the lead sheet f Nich Kasper’ tne, “Walz fr il Ferrante peformg i, at ww. keyroaérag com, This 48 wel hear eu of Rast vcerpt of is performance is geet example ef ‘ow pe erates beaut seunds whes apeyeg the vie leading ideas i his artes ber e ‘somathing youlke that holpe you create ‘some ideas of your own. Waltz for Bilt ‘Alter | began serausly looking into the ‘music of Bil Evans, I wrote an homage to ry father (a huge Bill Evans fan himsel) that attampts to corporate several of the techniquos found in Evane’ composttione. Specifcaly, | employed his unique trea! mont of throe-tonie systems, his ablity to sist eoarrlacely in and out of koya through deceptive cadence, diect modulation and ‘temporary toniczation, tha dramatic etfact he croates with bass rote pedals, the implication of inner voice mation in his ‘chord eymbols, and he masterful ek with melodie motive develocment (n both his wating and soloing) — as well asthe tech riques we've bon working on inthis ati cle! Example 9 (above) shows a small ‘o«erp! of Russells performance of it (aise avaliable online), in which he ernploys the techniques we've worked on inthis arfelo His interpretation is quite moving and beaut as he chose to ply it as a slow walt, an idea that altered my view of the ‘une compiotoly. Thanks, Russ! Whenever | think of Bill Evans in that classic pose, hunched over the keyboard intent on hearing every nuance and pos: sity, lam reminded to continue listen ing moro dooply. Whon you Isten closely, you begin to understand what moves: youself emotionally. Healthy musical aa Nt Dai. ey 4 wa 4 @ DP REAL Accompaniment is HERE! Crete ee ere ey Ces 2 for Windows is 40 easy to use! Just type in the chords to any song (like C, Fm7bS, or €13b9), choose a musical style you like, and Bard. Penn rene rr nnrc teen ety RealDrums and RealTracks, That's right, LIVE audio recordings of actual musicians! And that's just the beginning... ee ee een ieee eee teers Sn nee eT me recta eee a eC peerea eees pett ea een Lee ent oc pene ee ea eee ete ree Peper eee ee oe eet eg Eerie een aie gee cart ee ee Pn ea pipeaeeooitrri nun ersesenieay erie Atari terr meet pem ay arn ra pred Ae on nea tanner ee Papo iy moped penparereeth eben epee emarer fee Toy Rie ene a Aer te Bandin-a-Box & ReelBand Packages Necraseonepecntaaae wine corts oa munua CS) RRSeRa es nbapeharmapsed yen ptondingivopestierig rp os pe gd leo Ferenc re map aed epee som rr creer Seeee na, co | ~ 2009 Retire re pie eet ee =r ears sat eon Sarasin ces a eee tet LC Een ee ee DOWNLOAD ore er 30 DAY erence bh Days ear USeeeph sliders UC ein etecanand | Se hee Parr vera raryROAD WARRIOR Punk princess Avril Lavigne sells out stadums from Moscow to Malaysia, and has grown to become one af the most recogni: bio pop stars n tho world. Backng hor up fon koyboards through such me! ‘Complicated’ “Skier Boi? and “Girtriend? io tho talonted Stove Forazz0, a man at home behind synths and computers ake Wve mot up with Feriazz0 before his recon’ doparture to Asia wth Lavigne and ho gave ts insight nto hs action packed musical life, Fetlazzo started playng piano at ago sx and continued with classical trainng up Lunt entering Berklee Collage of Music i 1986 on echolarch p. H's fist ayrth was en ARP Auae bought from a high scho frend, “Damned if didn't take me two ‘wooks to get that thing to mako a sound? he says, ‘came close to returning it and 42 eeveaana 09.2008 his father, he acqured a book on synthesis "That's where | gat my Frst education an bling sounds from the ground up ho says. "I continued to study classical theory and harmony, but there was something ‘about crafting now sounds that I fours the Pound. Journey, Escage, Prince, Pu Tempered Cl Extreme, Saudades de Rock Nine Inch Nal, Ghosts //V. Genesis, A Tick ofthe Tal 1ng for my money back” With the help of iple Rain. Glen Gould, Bact Red iohoad, fn Ral a stimulating’ Ferlazzo's early classical influ ‘ences gave way to progressive rock such as ELP, Yes, and Ganes's. | especialy had an atfinty for [Gonsie founding mombor eyboardat Tony Bank: His sense of melody and chordal development ly ettuck a note wth mo! he says, gland by The Well ow. Muse, HALARP. DramaGods, Love‘© ABE’S ttrcrroncsOF MAINE Abe's of Maine Pro Audio & Musical Instruments Get all of your gear at Abe's of Maine All Your Music & Audio Needs In One Place!Steve Ferazn at his fri Lvign sg, whi incu ti TeMote SL the he use te cot Ableton Lv Feilazz0's love of prog rock soon ‘evolved into a taste for funk. “Bernie Wor tell ended up being one of my biggest influences for his creetiviy, sense of improvisation, and expermentation with the Moog; he says. For'azzo algo caught one ‘of Nine Inch Nals’earlest shows in Boston and was blown away. “When Trent hit the stage and [heard that aggression and in tt XS, Meog Voyger, and & Nevetion ‘power, 1ealized thatthe driving fore was rot guitar, But synthesizers and, for the time, come amazing programming,’ he con tinves. " was instantly hooked? Preparation Feriazzo wor his seat in Lavigne’s band by auction and worked hard to prep for the ‘0198 that would folow. " spent a day importing YouTube videos into Ableton Lue ‘and using the Utlty plug-in to do some phase cancellaton for part separaton® he says. “I knew that Lwas going to use Live as the canterpiace of tho rig, so I sot up all my patches, clicks, and loops in Ableton? As Fetlazzo started getting sourds togatner, ho began planning he ng. "The Moog Voyager actually gets « lat of work ‘on the gig’ he says, “whathor for sub-bass ‘sound on "Complicated or tho fiter ewoo bass of ‘Losing Grp! During songs wth mote lead guitarish Ines, | used the Moog to onhanca ard layor those lines wth somo ‘custom lead sounds. "The workstation of choice for me is the ‘Yamaha Mot! XS. | conaidar to bo a groat lve board, certainly a standard on abig tour’ he continues, Aside from the Mott ‘and Moog, Forazzo roliog heavly on tho Novaton ReMote SL (his ace in the hole") {or both audio and visual alomants of the ‘show. "Tho intogration with Ableton Live and programmable controls onboard are the main reasons Ise t” he says. “The Novaton oscontialy allows me the froodom to not have to touch my Mac keyboard or ‘mouse and just concentrate on performing, video game production and live per is hard work, but you love it! Welcome to the world of. AUDIO RECORDING TECHNOLOGY! spe keyboard 4a aay Peer ote rein Cervo ciad Looking for a way to stay connected between issues? ‘Sign up for Key News, Keyboard’s FREE e-newsletter! ‘Twice a month... Get the latest artist and industry news Read highlights from the Keyboard forums ‘See the latest features on KBTV ‘Learn playing tips And tons more stuff beyond what you find in the pages of KA! Earn.a dagree in Business or Music with a concantration in ‘AUDIO RECORDING TECHNOLOGY. Contact an Admissions Representative right now end ‘MAKE MUSIC YOURLIFE! SRC Ey aLwhich was so impoctact to mo, espackally nce | was essentially cong to be playing keyboards, singing every song, running ‘racks and click, and controling prepro- ‘grammed video cantent for the show" For software, Fodlazz0 sa huge fan of LLvo. "Ican't eay enough about the orucial piece of software!" he exclaims. "I remem: br fest gatting acquainted with it as alte ‘yersion bundled with the Digi 092, and instantly saw its potential | had version 3 early on whon the oftware wae att prima: riy @ DI's delight, and a hyped-up vetsion ‘0f Sony Acid Pro. At the tie, | was doing loop basod music with Tribo of Judah, Ableton Live was a huge part of that process, Fastforward to Live 8 and 6 ‘where, in my opion, Live started to bacome a force ta be reckoned with. ve always loved Session View, and that's where | do all my work, It was the ideal way te Set up the live show for Avril would set up each song as a ‘scene! in Live and each track on that scene would contol ether an ‘oxtornal synth, a goftwaro synth, one-shot samples, loop tracks, a click track, a verbal count off track or raference track to the ‘Aaide tram Lo, Feriazza got into orgin eer Apple Logic 6 found It too involved” be says. "Now that I'm much more comfortable with | actu: aly prafr it over Pro Tools” He algo has an aifnty for Propellerhead Reason 4, which ho ncorporates into Lve and Logic 8, In provious versions, Beyond the Music ‘When giving advice to younger players, For lazz0 says, "The fst thing do to & develop ‘and master your craft. spent plenty of my youthful yoars practicing, laming, and read- ing manuels religiously. But that's only the first stop. Also work on your social and ne workng akile. Thoro aro tons of groat play es out there that nobody kroms of. Make it point to go out to clubs and meot posple. Develop rolationships wth musicians thet you respect and always look for opportuni tiga” Ho alao emphasizes tho importance of finding a niche. “A ot of bigger artists are inclined to use tacks and video, and having knowlodgo in thoeo aroae has roally holped me to get gigs? he continues, I made sure that my playing and vocal abies were sirong, and my computer sis were strong to the point where I could accommodate any artets!roquoste ina lvo etuation. | wotled hard t avoid being slave to the ‘computer ~ instead, making it work for me {as another instrument, being abie to contro! it on the ly, and being ablo to make realtime ‘changes during a ive show that don't inter supe the flow? ‘That flow existe both on and off stago, and having the right personally traits can bo koy to surviving a tour. “When you tour with sorneone for a while, you have to be compatible” he says. “Figure out who they ‘are and how to acapt to their station. They ‘are not going to adapt to yours” Ferlazzo also mentons patience and pers tence, a8 ‘success dooan't happon overn@ht. "You can't move out to Los Angeles and expect to bo rock star in 8x manths” he says. “l's just not realistic. It's just Ike starting a busi ness, most of which don't even make a profit for tho fist threo yoars. Coneidar yourself the commodity. You have to invest in yoursolt, plan properly, have some sort of ‘game plan, and not gvo up if you don't lane the dream gig in three months, You have to focus on long-term goala!” TE Fer more o oie Genset's intetew with Steve Faraz, vst wr hejbocrdmag com, “The closest any digital piano comes to the real thing.” gee Ome ea en Ge ecu ue est ae ee Pear aes ace eats Peano e errrEee BEGINNER “SO WHAT’ "2 THIS CHORD, THAT’S WHAT by bn Bisin ‘The first thing you hear when you put ‘on Miles Davis! Kind of Blue's a haunting, moandering introduction by Bill Evans on piano and Paul Chambers on bass. After a while, Chambers suddenly solcifies the tempo with a melodic fgure, which is anewerod by Evana in ¢ call and responce fashion with: The Chord, For many musi ‘cane, this chord was an ep phany, one of ‘those momants where they said, “What ‘ that sound?" That voicing set the ‘mood for the rest of the album, and holped dofina an ora in jazz For this sound, BIl Evans employed a rootless chord voicing that became so Ub quitous n jazz that t's simaly known as the "So What" chord. ln fact, he sae the voicing in two positions a stop apart even though the chord implied by the composition was a simple D7. How's he know how to use ths vowing? ‘Atte all, the chord symbol on his chart sure didn't say “D So What” Take a look at the chord dlagrams and the rotated oxamples to get your hands arcund these fermous voicings, as wll as the reasons why these particular note cho.cas work so wel. Ik Here ae the aoes Bil Evons played in ho “Sa What chor. Buth of faexe work ax chard vollags aver a Du7curd; whe you go back ad oth between the fo, you playa te nets of te ‘mode in Caja, whieh tthe node associated with Dn. l the note tthe sole? You heard it rant. Thi i abot minor seventh chars; every nate ofthe scale sounds goed over then, eter asa herd voicing et ase mend Kine. Te guarantee epi The these es opposed ost the notes of he minor seventh chor, compesers might use Ota the chord sya ne ofthe ean hinge wl le richer vocinas ja al these notes ae pea fo yeu even if yeu see cyan Kemet * e it MM eo! | lo} | Jel | Je) 4 1 1 38 5 2 1 2 4 We komme GB WD Gm ere are the sae cars, tanspsed be pled ave an 7, wie Is th narmony fr eB seston a Sa What’ Tate ok at the intra tat make ws be chen, From the top down, tere is «second start om he lowes note aed ply twe fourths eran A mer rad inthe righthand, and a fourth bel above this tei 0 Tel hand Wits your ight and play 2 aw that, an intra o @ rth nthe eft. Aiematively, you can ke fourth p far he let hans to ate, then lay a Ime hed above that New you can se that tes veicings are stacks of forte wth mr Rid atop. What ena stundt * * lol i | mM 52 1 ae 3 2 35 ee » oo ue ow eB L101 your rit aand plays a G maar tri in second inversin, while the Itt and plas a fourth on A end & then the whole shape moves cown a whee-step. 10 bows the same thing transposed u a halt-stea. Int, redisiute the notes mae hed en tp. td shows the same approach, up a al-step. ‘yur let hand play a quart vicng (stacked furths), while your right hand plas the _ na oo one bt 4 d yh 4 d dd Par ires I lan tala Stunning Sound. Exceptional Clarity and Realism. Unbelievable Price. cers aj We ae Cie Ut Mage ie) Hen mee Amer dine) oi Mell cis ia eae en) 6) ° Realistic mechanical sounds and sympathetic resonance SoM geeky ONC] OOT* (Cee) OMEN Cyl Acro ke aU Na) = LS de erale RM ka Ulm cee) AcOUSTICA taro (ool deal 1 en eT oe See ee eS ee ue ateEee INTERMEDIATE MODAL SOLOING by St Heal Though it wasn't the first recording to shine thiough: John Coltrane's saerching album s a primer for simple and melodic document the modal approach to jazz, Kind meledicism on tenor sax, Cammontal Adder. modal improvising and two of the compost of Blue widely recognized as amaster’ _lay's edge and eubtie fron ako, BilEvanc’ tons ~ "So What and "Flamenco piece of the siyl. All the soloists play simaly introspective intensity on piano, and Miles Sketches" ~ are a great place fo stat lean and directly, ot ther musical personaltios Davis laidback coolness on trumpet. The _ing the modal language. Ex. LWant co! example oa meds sppiozch? “Famenca Sketches” frum Kind of Bie axes fe dierent sles, and according o Bil Evan" Huet ate, i was upto ‘he soloist when to change fem one to te next. The eobrs and moods shit atthe players improvise using each o thet tates in tun. ere athe seees end the Implied chords, with corresponding voeigs. 1 andi suad Spanish (leading to the Femenoo reference); Bil Evan realy brings tat ou by ang the Fond moving hnomatically upto the EC. nbs comping, Miles, Connenba, nd Trane al payed F naturel apeinst Bl’ 07.8 its a buesy and erative scund. & Jpusd dhe pe yop 1 ‘maT oy) NpSeus Bb7maj 9 D7h9-ebibst 4 i Go eg ¥ 4.2 Far inprovisiog on “So What theta tase on Kind of Bl, the soins uso the Doran made of tn mer keys, Band A. The form ofthe tune is RABA, with ‘he A sections eer dor, hen the B section apa hat-tep to Ba then back again to Sma7 ortho st A section. With ne turnarounds or modultons, the soleists ‘ould ely ealere the modes Te ret thing abent improvising inthe rien mede: There arena wrong aoe You canst on any of heats al day long, emphasize arpeggios, cu fas scale passages, create tneles melodies i al wars. ts inleresting to hear how Mies, CannebalTane and Gill worked within thi Fremewerk pushed agaist i B's femons “Se What” voicing ~ rated in deta on page 48 ~ ae in 2 and 2. » S bana be? Mia Day; = neee NY IT! | 4.4 Miles’ trumpet sui on “So What” (ne fist couple tars of which aren 3a) is eamsdered by many axe musicians te be on tthe finest sols ever. Right ft the at, Milas established and developed asin plewelode idea using ote from the Beran modo zor i is sl (3b, Miles reached fara tgh 6 then moved down and pia third, then repecte the pattern dwn an ata, He was simply erecting out on some ofthe upper extension ofthe miner chord letting the notes ving, and finding melodies using intervals within the sale. fo modal msi the individual antes dont have te havea stick harmonic purpas, they can just e colors. Catane was asl of tiv, mei paying, In this excerpt rom is slo rom “FamencoSkelees” (Se), he played s beau descending mol repeated if, ten aed the ‘commen tne (A i 1 the nent oral center, where ne rpeatd the mt aga. » om? Wi Eras used there tw lena ehed asa point of departure; ale tat they oth works vocigs fr this mods ppc, Hi ‘was very much nthe same mod as Mle’ slo ~ bey were intleencng eae otra great dal atthe timo, Bl lt his mcs ving savoring the colar f each The ee 1s ose and colru, despite being played on an ef the most famous aut-f-tne pianos recorded az Wistory. cs ee et fF f = a x $ Later in is suo on “Famenc Sttches" Bl Eran gave at this beaut descending line harmonized with as ~ shown here sight simple ~ wich ‘ety olows the inpessny hip O74; a Hear! irucue that exploits the minor thir an iat sich ofthe Prygian mode (te F aad the B)wit the add below. It prondes arene moment of traditional chord resistin onthe eau: 70 & win, orgs set i oo tbh a al a ale) E esEee INTERMEDIATE MODAL COMPING by Soma ‘Accompanying 2 jazz solo, “comping” os tatlsh strong, mslocic comping for ho ison important aklfor any jaz” panist —_—_golate. Chock thoao example out to 200 Milos knew that as far as berg tuned nto how Bil vated his aporoach from lagato to how to bostacseve ths using a modal staccato, and rom busy to spa, athe approach, Bil Evane was the Gest inthe bus!- whe using the froedom of a modal approach ness. In “So What" and "All Bes! Bill uses to create contour and shape that interacted the its he played on the head, or the tune, to with what the soloist was doing. Ik {1 Thinking molly gives you te option of making your comping sound ea mcedic. Let's ay you're plying ate in i? Take 0 simple mle within he ‘devin mode (tp staff) and tarmonize it asing fourths and this (atom See re eee, . Sesser grb abect dasonence on some voings ~ thas part of te modal seu, £ 3 a E f 4.2 Bl Evans pu he fecniqu in Example 1 to ood ue al ovr Kind of Bia Here he use repeted chy and rising and fang melodie Hire Narmenied by paral cherds, on Canonel’s second chars en "So What” Choose yu fingering so you can lay legals and ay ha rile hack m7 se Fer ae eS a 4.5. Tane’s solo on "So What” Socame busy and intense, so Bl simpiidasing quick staccato stab, and smaller, ight wicings. Me grabbed 9 couple of caine vis and stvetues, ied some major and mina seconds in bars 3. and & Ts comping tecaiueis both melodie and rhythmic, yt stays undtusive under the searing ean tie. om? = Se et = SS 4 On AE Blues? detonated is mastery of phasing ad articulation by expanding ané developing the man rfl 2 Re cemped. He realy lay it down Ding ‘Cannonba's thin ehers, as you ae here, its nthe pocket: Punchy, esa and tad, aad be play arund with the eyneoption en the Yong and short phrasing ‘houghout tis chorus, andthe rest ofthe tne. ad 4ARTIST MASTER CLASS Was Processing, Al DiMeola, Marcus Miller, Chick Corea P| AYER, See me iste) | Senate een et man ano WAU Pelco Der ee Se TT ‘Full Range Bass JEFF LORBER Lor aU eur Cea as POR Oe ea err Geet eran ty eet ee Seer Cree aes Encore!" eee more than | had ele a Ce esTHE DOMINANT COLORS OF “BLUE IN GREEN” by Any Laer “Blue In Green” isa unique tune, tts ten measure circular structure makes tt diff ‘ult to hear the baginning and end of the form. On Kind of Blue, the form is stretched or shortened by augmentation ‘or diminution of the meter, depending on the soloist The tune is set off from the rest of the compasitions on the album that it neorporatos more functional har- mony: There are typical tensions and reso~ lutions in "Blue In Green? which are found In standard tunes. Of particular interest are the dominant saventh chords with specific alterations: #9 and BB. Sometimoe theeo two dominant Ex. The fst of Bl Evan’ two soos on “Blue in Groen” is theughfl and mele t contrasts starkly with his sols on the medal tunes, suck as “So What” and “Fs ea the dilerences ae aut, but they rewa fom the scles welt eok at moe casey in Example 2 en the follwing page This isan excellent rence Sketohen” He makes a ditinctondotwonn the set ofthe chars. Me wae a ged det of scale ome seventh alterations appear together in the same chord, some times thet colors are trastad sep: rately, Listen tothe recording, play through ths tanscxiption of Bil's colon Example 1, go over the scale and chord relationships in Exam pile 2, and then incorporate the differant colors into your own piaying An interesting bit of jazz folklore has t that "Blue In Green” is the result of two chords Mies allegodly gave to Bill ac a problem to work out: Gra and Aaug. This ‘could be intorpreted as a i-V in minor, with tho Gn tho upper etructure of an Emin 7b 6, ® ‘Sand £746 corsa terms oi eis tins ‘example cf tow te Inerporate ste ther int your latest create ie! nes. om ars om? Bhmeir ADVANCED leading to an ATalt The same harmonic relationship appears in this tune as Dim? 10 E7#8. In any caso, "Bluo in Groon” is an exquisite example of the work of both Bill Evans end Milas Davis. © Milos Davis, Kind of Blue (Columbaj " fe the color ond mr ere bm? nots omy om? Fr om? om ContinuedStudio Solutions for creative musicians everywhere \ iat sd Tad ote Ue ae ae ee ae Apple Pro Audio Resellers are the perfect destination to build your dream studio. Renee tar ee ae ca WC) Pee taco cir ee Cee Bunny is best known as the frontman for legendary electronic group Rabbit in the Moon En an se ie tee Laat ea eas Ere rh ve Mm Nee re Ver is ony tere SPRY SUE OTE OPCS eerJapan's best-selling jazz album is now available here! A SPECIAL 2-CD COLLECTION featuring jazz piano legend Chick Corea and Japanese sensation Hiromi. New CD Now Available! | Srebrcaamascraspcon BORDERS. BORDERS. 12's wonders te bave so many amazing sobs to itn toon this tne; yox can learn a a by Hit {eniag to tow each ane trets the dominant chords in “Blue in Green" In2, you see Gotranes scale hue forthe A745 tthe ftth mode ofthe melodic minor sole in hs instance, the meade win. vehi nwa as the Miclysian | Theft nad voicing Ist ene Bl uses during Tae’ 0. Aastber choice that werk wel isthe fia mode of the haronic minor sale, known a the atared Phy- ‘he exe aleration of 8 2c: The seventh nae ef the mela mir (meade waar scala ne eaten fr tat name is thatthe scale contains every rot Other names ar diminished whale hand vlig inthis case ‘cuntins the #9 and | 2 Ths it ne of two seals that thee two ateratins appear in tagetter, te other ‘being the 6th made tthe hermesic minor Cock in 2). 24 the sneante mele ane acl does the eb 5 wising contains th #5 elog withthe guide foes (thi and seventh). 2e: The sua (aa, ancy diminished, nal-sep whle-stepcevinistes) contains al the dominant airs ence the 19 which is why the diminished sal isn the best chice over the 475 choc. Yu can ws tif thats what your eas wan; giver the clash ofthe andthe ‘he thir, seventh and 2 The Eatered seal (2g) isa great ebeoe fr £748 atered Pylon i ‘ancter option (2h) as contains the #0 and #5 13 as dees the lft hand vii. ow ws aTho(br3) (eae pe eet 8 e «ita aAtan 4 = pet aoe eee | #8 HB = -Adbe(do pt) » Erbociony bea Era » Ethodiobs)TOOLS “vorors FOR. Ce t.Ni le) ae H | a i etnies menial Caplan Co Couto TD Bu na SCC aU ES Ck eee Visit our SuperStore in the heart of NYC, give usa call, or browse our newly expanded web site featuring live assistance, and experience for yourself the most knowledgeable and helpful Pee re Pree eee ee} a 7a www.bhphotovideo.com/catalog PCR me eT ce a oe Be ete CL nag eee eee cereyon SEQUENCING LIMITING MIDI DATA WITH SEQUENCERS by Crag anton Limiters are some of the most useful audio eignal processing tools in music, but most sequencers can create these same effects for sequenced data with 2 pracision that's definitely digital. What makes MIDI data limiting even better is limit any MIDI controler data, such as pitch bond, modulation, broath, podal, aftertouch, and more. Limiting perfect for taming loud, “rogue” notes that for whatever reascn were recorded at a higher velocity than lovol notes. n addition to velocity, limiting 'e vory ueoful with controllor 7 (MIDI mas ter volume) data, Love assume youNe playad a melodie line and it sounds great, except that some ofthe notes are much louder than the rest ~ so le's do a fir by folowing the four stops outlined here, 2 other notes, but it can also lessen the di forones botwoon the highast and lowest that sequencers aren't necessarily Imited to just processing dynamice; somo oan Sep This shows the original velecity cata (whic, he most MID dats, ‘ean attain 2 maximum value of 127); moa eel range fom around 75 to 100, Hewever, to ofthe nates toward he end f mersure 2, a nate hay ‘hugs measure 4 and the very last aoe in measure 6 have much higher overwhelm ami Decide whet you west Ne case, les veluety values these ‘naciman veut tobe; in valaes ever. sume you want na velocity bid Step 2 Selet ai MIDI data. As shewn bee, ad a eanstant amount (ve call tA) te al ata, Determine the aroun ad from th folowing Ferma: k= 127 ~ fmasiman desied value. n this case, we would 2dd 27 (27 = 127-10) tal bes You can see the resus of tng 2 nthe aackgrand: cities are new igh. ‘Slap 3 Next, subtract 27 ~ the enoant equa n wt yu edd, Agu, the here shows the resus ofthis operetio: Any antes higher than sited to tht value, wile notes a 100 lower ella thee preeus ie regular a iting, hi “perfect” Hinting tat inta- intron and oan be cone with mathemetc! preci ele: irntings aut, ay sora you at Innit cones ct wth nai peaks tiger thn a hast you set ee the ite rest he sas or Slop 4 Sometnes ifs not necessary io go tough these stops ia program includes M1) etect hat poi ‘amies cant, The tron window in his seresnshot shows 0 Compression MID effec in Cubase wil the reat windew shows Cohewall’s Velaly MID! aug vehich ines nig functin for ath high a ow veleciy vlan, ‘al eves. Sibel et hah ae ‘nse, Wl genera ue tte ula posta teat te ate yam tang nd tee cus: dtr ‘ig, integral used 2s a pet ecto gin "vata eetnea NOVAMUSIK.COM Voyager Select Series Toll Free 1-877-290-6682 NOVAMUSIK.COM ecu e e Omen eer en Ce EzCie PRODUCTION USING CLIP ENVELOPES IN LIVE by Ji i Great music balances on a knife-edge _'s, 100% of whatever the knob is set to. you want an effect to be heard only when bbotwoan rapetition and change. With eam- you turn the knob down to dry, tho onve- one of the olips ine track ie playing, you'l pled loops, repettion is easy. Sohow do lope will have no effect, because 100% of need to go through all ofthe other clps in you throw in afew tasty changes without nothing nothing. But when you turn tre thet rack and drag the weldry envelope Uunderoutting the groove? knob up, twill fect aif ofthe clps in that down to 02%. With Ablaton Live's clip envelopes, you track, because thoy'llall have envelopes in The ways to massage your beats with ‘can customize a loop endlossly without which the wet/dry envelope s st 100%. clip envelopes are almost endless. needing to open up an audio editor and mess with the sample data. When you rnoed to catch your letoners’ oars, just diag ‘copy the loop to a new slot n Session ‘View and apply a couple of clip envelopes to the copy. (Youll lac nood to adjut tho ‘Session View Scones so that each version ‘of the clip playa when you want to.) ‘After selectng a clip, click on the & but tom in the Clip View to show its envelopes. Automated mute/unmute. What a sna itis steppag onan impartent syle inthe vocal Uso the upper crop-down monu to soloct track? Chaos the el's youme envelape and notch out that one hit. Bovbe-clek an the volume envelope te ‘either the clip tsel, an effect in the track create fur breakpoints ard drag pints 2 and 3 cow to the bet, ‘or a mixer parameter, and the lower drop ‘down aditor to choase an anvelope. Almost any parameter in any eect is fair game for ‘envelope contro, as are the mixers aux ‘ord knobs. Double-click on the onvelopo {to add breakpoints, and double-click on ‘existing points to delete thom, By default, each clip envelope is the bebe te tite: ‘same length as the clip. But f you click tho Linkod button to turn it of, the longth Edit the boat. The aps sample afset envelope oan move the sampie playback forward ar backward in ‘ofthe clip envelope becomes independ: tine in precise sseeatt-ate uni. The cin shewa here is quit sparse aca the en, 2 ve lowered the seme ‘ent. You might create an eight-bar fiter fel envelope by eghtssteznt-etes, which duplntes the busy hha fram tendo har 3a the begining swoop for a two:bar loop, for instance. afar Th het region wher the envloe i raid wil doable tet est snare at abet ear. More complex modulation patterns can be ‘created by uniinking varus envelopes ‘and otting thom to diferent longthe. When an ervelope is uninked, it can also bbe unlaoped, in which case it will play through once and then halt, evan the sample loop itself is still cycling Tho onvelopos for most parameters aro calibrated as a percentage of the knob setting forthe parameter the envelope is Dub delay. La L's Fier Delay effect nt the track withthe leap and cote the aatp! volumes af 2 ‘controlling. When you add a Png Pong Dotay, couple ofthe delay stapes ram clip envelopes, Th lets yeu itecuce afew delay eehees anly where you for instance, the envelope for the wet/dry want them. The envelne hewn here has heeaaninked fram the ci eat e thatthe echoes ia bar 7 wil knob is automatically set to 100% ~ thet be hier than those in bar & ry centraling the dla’ feedoacc inthe same waykeyboard GeT EDUCATED, GET ENTERTAINED Presenting the best vi source on the web for keyboard players of EUG: Ce) ‘heck out KBTV on keyboardmag.com CHANNELS + Top artist techniques - New gear and tech how-to info + Lessons + Live performances » Keyboard shows and events Mersey keyboard ns low show us YOURS! Upload your own videos at mymusicplayerty.es es NINE INCH NAILS’ “CLOSER” SYNTH BASS by Michel Siar Nine Inch Nails made their name bring= ing the hareh electrodance cound of indus: tral rock to the masses. But in 1994 Trent Reznor slowed down the bpm and tamed up the funk-o-matar with the slow burn of Closer” The track sets the stage with a kik ‘and snare sarnpled from Iggy Pop's under- ground claeaie "Nightelubbing’ and fife out ‘with a rezzy, sitherng synth bess sure to bbe heard in “men's entertainment” estab Iishments for dacados to come. The track stacks elements as it goes, piling on machine lke synths and spooky backward pianos until the layere plo up inte « thrab- bing monster, artfully concluding with a simple, aetie forward/backward piano molody line at tho outro. This month well recreate the “Closer” bass groove with a viualinstument. Trent's rnovar bon spociic about the source ot tho Closer” bass tone, but a Mrimmoog has all the necessary sonic gredionts: We'll use ‘Acturia'e Minimoog V te recreate the tutbling bbassage, but most virtual anelogs wil get you close; ty using a VA with fat-sounding fers! 1. Set two oscillators to Sawtooth wave forms and eot tho ptch to 32° (that's real low for those without footage settings) 2. Detune one af the oscilators by about 10%. 3, Sot tho fitor's cutol froquoncy to almoet zero and the resonance to about 60% (1 you're 2 using a Moog emulator, may be callad “omphasis"), 4. Turn the keyboard tracking all the may up ‘0 the cutoff froquoncies open as you {ascend the keyboard (on @ Mini emulator, tum on both *kayboard contro” switches rox to the cutott kn) 5. Set keyboard envelope level or “amount of contour” up to around 259%, thon sot the fitor envelope attack to 400ms, decay to 575m, susian to 1, and reloaso close t0 2000 66, Amplitude envelope or “loudness contour” should have attack at zero, decay at 250m, ‘See page 80 fr info on Alessande Carts ve st ig wth MIN Wetter you'te using Arure Minoo V (shown) rater vita yeh, be sare tweak the fier catty retnanee, and envelope amount eget te af les” ust ak sustain fll up, and release close to ze. 7. Make sure glide and logato are turned off if youre using a Minmaog emulator. Hf you're using the Arturia Minimoog ¥, ‘you're al sat H you're using anything else, hero's whore it gate a lito tricky. Tho koy to naling the *Claser’ bass patch is pre cise tweaking of the fiter cutaf, resonance, and envelope amount set tings ~ it may take a while to got tham dialed in. I recommend listening to the original track or bottor stil, downloading my sxamplos for quick comparisons. Then you can do what | do: Listen to ust how bright the fiter '¢ as well as how much *honk* the titer resonance setting is creating, and tweak accordingly. Finally, a touch of stereo chorus, and some EQ will get you, uh, closer. | dropped out a litle sub-bass at 70Hz, and addod a Itt la-mid bump at 240H42 te boost up the honk, Hope this helps bring the bass, NIN-stye! ISAVE THE DATE PLAYER Los Angeles OCTOBER 24-25, 2009 www.BassPlayerLIVE.comALESIS SR18 Worthy Successor to the SR16 by France Foe ANGST ‘ons of acoustic sounds, Sult-in offecte Battery or AC power. Exteina audio A user patterns, No external eta storage ofner than MID) sys-ex No way fo ads you: oan samples 19 lst/approx $259 street, oe In the pantheon of historic drum machines, the Alesis SR16 ea logend unto itself. The orginal black wedge was released in 1990 and remains in product tion to this day. Used 1 ovorything from hip-hop to rack, ts combnaton of pre, portability, rock solid construction, and massive array of high-quality samples mace it truy worthy of an ovorused description ‘workhorse. Heck, I personally owned one for the better part of a decade. So when ‘Alesis introduced the SR1B, we ware more than a lite intrigued. Could the successor havo tho samo staying powor as its fore boar? This month, we take @ closer look. SR16 VS. SRIS Cosmotcaly, the SR18 locks a lot slicker© Thoetae ck woe sm a cise ede © tase tait LO dey sem he pater rane ax ero aa done, © New 0 indicat stom ced ste ad fey tempo @ Trecoeire dal an ite St6is re larger ne SR, an fetes snot ding. © Tie pads do dub dt er poranning bass sn rum pts zs el 2 ress insions © Ove rane no hes desist acho the tack thet © Toate non ter te exter aad, the Sevan ter uta ra han by 2 gle 1" ste pre-e jc, @ dua fcc pts ato tsar, psn fi tog ben pets, a adding acoutin than the 16. While the essential interlace and wedge shape remains intact, the unit sports & slick slver finish and a more mod: ‘arn look, but that's just the skin-deep stuf. Insido, tho SR1B includos a comprohonsivo set of upgrades and amenities. For starters. the unit's sample ROM has been expanded to 32M of sounds, which now inoludes a bank of synth and bass guitar samples for aciding bass Ines to your grooves. For adding polish to the over 500 drum and percussion samples, there's also a selec tion of intograted effects Ike revero, com pression and EQ. ‘One of the more welcome Improvements isthe ability to run on bat tenes as well as AC power (adapter included, thaniJuly), This makes the SR18 ‘a perfoct companion for backpacks and gg bags. Also included is a new external audio input for jarmming along with the SR18 without the nead for an additional mixer. This input s linelevel only, so you can't really plug in a guitar or microphono with: ‘out a proamp, but i's stil a handy addition for those who like to travel ight SOUNDS ‘The SR18's sound bark leans strongly toward acoustic drums and percussion. That's not to say that there aran't any alec: ‘tonic eamplos. n fact, thore's a bunch. I's just that, tke with the SR16, the sonic focus here is on classic drums rather than bostbox sounds. Ot course, i's possible to ‘create more overtly synthetic drum kts by ‘using extreme tuning combined with sharp Qs, such ae those en tho includad "radio" presets. What's more, every drum has bbasic tools ike attack, decay, and lowpass filtering of the non tesonant variety. But f you're after a mare “groovebox" type of ‘sound with lots of editable drum parame tors, bit-crushing, ping-pong delays, and so (on, ths isn't the droid you're looking for. That sae, f you're seeieng well produced acouste kits, you've found a ‘rrond. The SR18's collaction of acoustic ‘sounds is outstanding, with a blend of clas ‘s¢ SR16 diums along with 2 slew of new 24-bt eamplae that cover all kinds of rock, jazz, and country production styles. fn fact, there's somthing about the $218 that toally lands tool to wookond gige wth ‘small bands and lounge acts, That's inno ‘way meant to ba unflattering, since the SR1B os oxtromely good at what it does. Its ‘combination of features seams talor-made for mainstream |obs ~ a8 opposed to being ‘an exctic, over the top groovebox. The SR18's bass sounds are equally high-quaity, coverng synths, oloctre bass, and acoustic upright bass. These instru- ‘ments can also be processed with the aforementioned envelope and fiter for a bt ‘more textural variety, but beware the Sein: ‘oid thame slap-and-pop effoct chats ‘endeme to elmost ary sampled bass gui tar = unless, of course, that’s the sound you're goire for. PROGRAMMABILITY With al of tho new drum sounds and ‘expanded sample ROM, it was nice to dis ‘cover that the SR18's pattarn momaty ~ 100 each of preset patterns, user patterns, and songs — doubles that ofthe original SR16. Stil, 100 sor pattorns deosn't ‘s00m lke a lot by today's standards, ospo- cally f you sequence a lot of your own ‘accompaniment tracks. Alco, thors isnt 2 slot for Compact Flesh, SD, or any other form of axtarnal backup other than the old: ‘schoo! way of dumping tho patterns over MIDI sys-ex. Considering the target aud: ‘once, this may not be a hugs 'ssua, but its a defnite consideration # you plan to use the S216 for long sols with lt of com plex song arrangements. Programming your own patterns remane a eralghtforware aff, with the rmajorty of paying procedures beng ident: cal tothe orginal SRI and to pad-based ‘rum machines in general Just antor record mode and overdu your parts in real time using the 12 pac, unt you have something you dig. A step ectors also avalable, but rather fiddly due to the rela- ‘val limited vsual feodback the LCD dis ply offers. ‘When it comes to tinkering with your ‘ro0ve's foc, cna neat ~ anc easly over- locked ~ feature isthe ability to side ind ‘dual drums ahead or behind the beatin ‘ume increments of 1/384th of a whalo rote. On the down side, there aren any ‘groove templates, and only three proset huttofewing porcontagos (ols “ot, which is abt odd n 2008. ‘CONCLUSIONS ‘As the successor fo one of the most popu lar drum machines ever, the SR18's credo ‘seems to be, “f tant broke, dont fx t” By kaeping the hallmark features of the ‘original, thon expanding the factory bank of sounds, adding elects, and including bat tery power, they've delivered an exceptional value mn crum machines. The SR18 ia a {otal winne: for ight gigging or beataking con tho go. SZC Sereda “machine with over 500 sounds, 50 bess been recorded at ¢-bitresobion, Should | buy it? yout» de! “SRIG fen, the SR1B is a must. lf youre looking for more extensive robo en en cba skIB Ts et a Sac ° Crs cama} a ed {OA fen] Bny 00] en re feet |W) Bn] yn |) IMAGE LINE OGUN Dude, It’s So Metal by din les Fresh Ideas In synthesizer design are rare, Ogun is a welcome exception to this rule. It doesn’t sound like anything else ~ it ‘dos mecal. No, | don't mean sereaming ‘uta rock. Ogun creates the sounds of eymbals, gongs, and the bzarre metallo: phones of your imagination using a unique form of FFT based add tive synthesis, FFT stands for fast Fourier transform? and in ‘ease you didn't major in engineering, ‘way of doing math on the sine wave com ‘ponents of a sound that ean generate thou ‘sands of harmonic overtones at once Additive soft synths tend to work @ com puter pretty hard, but Ogun was fairy kind to my 2GH Gore 2 Duo PC. Fie settings in the preferences menu let you balance sound quality against CPU usage. i INE OGU STOTT @ Wil ott ae asm ca be neped ‘isms ab conta soot © Ihet See valos have major and unpredictable tft the hamon: corte lhe ssa @ Voto rho ves xn be aed nat tata te cach aie, wih a vaabe amount of itch, cn, and psp @ A resonant mutemode fer helps you cet rae fais sy oe © Sovran ype we contr ced ary in tis popup er © hu ost a ter tnd are: 0 fr exh pat © seine emeres,LF05, nd maging ures inthis rats ae, @ Chons, aya on ore ant he oot, A HH sual synthesized (Creating your onn sounds requires fee i $79, wnwimane:line.comaE ar Le (MeCN IRS ® Knowledgable product specialists on call 24/7 to answer all of your questions The best selection, prices and service in the business, CUT RT ee CA ed @ Hundreds of thousands of product tech specs, images, videos, audio samples, and product guides SMT IL ACL em Le eee a ¢ e-Gift Certificates and Extended Service Plans © Stay on top of the latest promotions and products with GEARDIRECT Email and Alerts ¢ Sharpen your skills with the Sam Ash Music Institute GEER Oe A Enter the code KEYM2009 com ce ac) Pree For more details, see www.samash.com/promocade WWW.SAMASH.COM © 1-800-4-SAMASH‘The only weirdness | spotted in version 1.0 was that you couldn't save your prosots 80 that they show up n the menu. Using the VSTi version, | could save ard load standard VST procots (with tho -FXP flo extension in Windows), but the factory pre ‘sats have a different file format, ard Ogun won't 6a¥0 in that format HOW IT WORKS. ‘This may road Ike a throwback to tho carly days of Keyboard, because it's almost impossible to explain Ogun other than by listing a bunch of peramotore with unfam larnames and teling you what to expect whan you adjust thar. ly order to program your own sounds ~ which youll want to do, ‘asthe factory sound eet is small ~ youll need to earn some new concepts. The result will bo wall worth the etfort. In place of osellators, Ogun has @ par of “seed values" which are numbers between 0 and 9,909, According to the Help fie, these "generate indecencent weightings forthe harmonic spectra” In theary, they provide a place for that FFT math to start. practice, changing the 00d by oven ono nororont (say, from 871 10.972) generally has a very audible and unorodietaelo affect on tha tone. To work with s9ed valuas, ust adjust them unt you hear something you lice. Thoro'e also a crosstadr for blonding Seed 1 wth Seed 2. Moving this with the mouse while a note is sounding has no ‘otfect untl you let off the key and trigger the next ncto, but controling it froma mod ‘wheel or knob while you play can introduce ssubto or radical timbral changes. Exroma! ‘cool feature: When Sood 2 is sot to the generator is e-seeded at every note ‘0n, which ean give you small (or large) tm: bra variations from note to nate. Pushing up the Fullness slider adds ‘moro overtones to tho sound; when i’ all the way up, the Seed values become ire evant. Ths interacts with the Richness slider: When they’ro both high, gunshot noise bursts are almost guaranteed. Again, you find good sounds by tial and error. At tings, he Timbre Pre-Decay sider ae atack waneint, Push ho elder up and they evaporate. ‘Ainusegment volumes elope a ate yo neu but bao Opn imetes struck metal objets the main pane sor for conioling the vole of 2 sound (and that eound' te, o some e331 ‘What kind of sounds does Ogun make? Metalic sounds which re eee Gserdinen esa! Doms realy fat tony in your meginaton Wil i da basses loads, ays, and pemet Neay omer oe city those pes of founda it He a some Ogu fare Wha Tile fran, be defeat tree io decent Cinviet ta there allasing? Not ha coud A New Sound is a Away! The world’s first 44-key Melodion (Keyboard Harmonica) with built-in Dynamic Microphone ice Dynan Mtophone (Patan Pend) phorous Brerae Toperad Plated Reed quite, or on top of another koyooerd cet fora sles of Ts ToSHOW YOUR LOVI www.cafepress.com/musicplayernetneeo ro KNOW (conTINUED) Coolest sound design feature: 0 yze and re-sythesze sam ples. The results mey or ay noi core {ose tothe orginal, but you can ect tne imbre in amazing ways.| got nice resus re-synthesizing seme tabla hts Coolest experimental music fea- ‘ture: A switch ean link MID! key num 41, For most sounds his destroys the chromate scale, pro ducing a sot of propared-piaro effect OS and plug-in format stuff: Ogun tune on Windows XP or Vista as & VST (24) plugrin it also runs natively in Line oxtent, bacause some partials seer to decay more quickly than others) are for docay and roloaso timo. The heart of Ogun programming isa set tings that you ace opp ‘moru above the contra! onvelope editing ard, The first five of these, in the Arte Vaton atea, are volume, ker eutat! and oft? resonance, pitch, and unison pitch devie- tion. Each of thoso can be controllod by an ‘envelope, LFO, keyboard manning | which note you're playing), velocity, othe ‘oneorean XY control pad. That's al familar enough to synth fans — but then things get intaresting, Parameters you can map to control sources (volocity, {for instance) melude trnore decay, timbre release, rotation, fullness, morphing, anc EQ shitting. Troso have no envelope or LFO control, but keyboard note, velocity, or the XY pad can affect them. Morphing ‘duplicates the Sood 1/2 elder. The most straightforward way to use all these controls is fo map a bunch of things to koyboard note and/or velocity, thoreby creating a sound that is extremely respon: sve and varied as you play. By mapping EQ shitting to velooty, for netance, you ‘can create the effect of a cymbal or bell procucng different overtones as t's struck hardor or in diforont spots on te aurfaco. By designing complex mult-segment maps {or the keyboatd, you can make i seam as if you're playing several diferent patches in

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