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Velveteen - Jimmy Smith (13) - Loving Each Other (Vinyl, LP)

Who's Afraid of Virginia Woolf? Archival Quality Copy Shrink Wrap Intact. Clean Cut Out Hole. A Fine Comeback Date. Vinyl Appears Glossy, Unplayed Both LPs Appear Glossy Recorded By Rudy Van Gelder. LP Appears Virtually Unplayed. Appears Virtually Unplayed Small Center Bottom Seam Split Corner Bump. Other transcriptions that have not been approved by me all have varying degrees of inaccuracies, due to the unusual way I play such as sustained notes vs.

Both books are currently available on Amazon. The songs transcribed in the 1st songbook are: 1. Black Stallion 2. The Cradle 3. Graduation 4. Joy 5. Longing 7. Lullaby 8. New Hope Blues 9. Reflection Stevenson Thanksgiving Thumbelina The Twisting of the Hayrope Variations on Bamboo Variations on the Kanon by Pachelbel The Velveteen Rabbit. Totally essential for the approach I have I very rarely use written music. It is an excellent way to understand and memorize music.

You can then analyze written scores I always analyze recordings — when learning a song, I usually like to hear many versions of it, and as many different versions by the same artists as possible as well — sometimes I take the uneducated route first, just playing what I remember of a piece, and making variations, then educate myself later — I find I often keep my variations. I recommend asking your music teachers to teach you music theory, if they don't already, and, again, the best place to start is with learning the chords.

I enjoy giving workshops when I can for any age group, time allowing and there is no charge. It has a speaker so you don't have to use headphones, pitch control to vary the speed and most importantly for me a half-speed switch which lowers the music one octave in the same key.

It may not be exactly in pitch at half speed it's often a half-step or a quarter-tone low , but you can use the pitch control to tune it to the piano. It also has a built-in microphone for taping, and a built-in speaker it is a mono machine.

The nine-foot Steinway concert grand works best overall for what I do. It really depends on the individual instrument though. My temperament is much more that of an interpreter than as a composer.

Very few of the pieces I have arranged by other composers were originally solo piano pieces — only 13 overall ever. I compose 1 or 2 songs a year, and it happens occasionally, without any planning or intent to compose, as I am practicing, and it always happens at the piano, as opposed to in my head away from the instrument. Sometimes it happens when I am inspired by the Season, Montana, etc.

Most of the songs I compose, however, evaporate away in a day or a week. The ones that stay get used for a concert, or a recording, or a dance. Some songs just get used for one function. I just see where each song goes, what it is to be used for. I have no personal mythologies or philosophies, or any connection to any movements, etc.

I was always an avid listener when growing up, especially to instrumental music, and especially to organists. Finally, in , when I heard the Doors, I had to start playing organ.

I learned chords and music theory, and studied recordings of organists, especially the great Jazz organist Jimmy Smith. I never played any music from the great European classical tradition, nor have any desire to. It is an older jazz piano tradition, played most predominantly between the s and the early s.

Stride piano came some out of the ragtime tradition of Scott Joplin and the other great ragtime composers from the early s, but the tempos are much faster, there is much more improvisation, and more harmonic development. Box I keep small black rubber mutes wedges inside the piano. The higher up on the piano the less this changes the sound of the note.

If it is a lower string with just two strings or one string, there is nothing I can do, but I try to hit the note less hard or, if it fits with the song, play that note an octave above it or below it, but usually I just play that note softer or not at all sometimes and emphasize more of the other notes around it. I use my thumb and middle finger, and you can substitute the index finger for a while if the middle finger gets tired.

I also, inspired by Bluegrass mandolin players, sometimes let the little finger hit notes above the notes that the thumb and middle finger are playing, and it hits notes half the time that the thumb and middle finger hit notes.

One of the things I love about the piano is its sustain. I like this sustain better than the sustain of strings, organ, or synth, so that is one of the reasons I always play solo, to hear that sustain the other reason is that is how I hear music in my head, is solo — what I am really, is a solo instrumental player that uses the piano, guitar, and harmonica.

So I sustain as much as I can, because I want a big sound. Also I spent my first few years of that I played on the organ, so I got used to having different sounds, having sustain, and a fat sound.

I also take off my shoes to minimize the sound of the foot pounding on the floor, and to have better control on the pedals. I like the total acoustic sound, and I play better that way, and I dislike the sound with a mic for my ways of playing. I am influenced some by the sounds of electronic instruments, but I reflect those influences on acoustic instruments.

Playing the piano wears my nails down, so I play the guitar with just the fingertips of the right hand, and I have to generally mic the guitar to be heard. I have more of a tolerance for a mic on the guitar. And as long as I am using a P. However, the best situation for me is a very small hall, with no mic at all. I do on the average dances a year as benefits for service organizations. My concept of the piano, whatever style I am playing, is a band approach a North American approach, rather than the European classical orchestral approach.

Basically the left hand is the bass and rhythm, and the right hand is the lead singer and sometimes an additional rhythm, and the whole thing is the drummer.

He always put his own deep, definitive, unique and innovative way of playing on every song he composed or arranged. His playing, and his whole approach speaks volumes. I always have open ears to notice these wonderful things when they happen in every song, and I notice more things every time I hear his recordings.

He was also one of the first pianists to play the popular rapid soulful blues lick that basically goes from the 5 th note of the scale, then rapidly down to the 3 rd , the tonic note, and the 5 th note below that often preceded by the minor 3 rd note played together with the 5 th note above it, as grace notes to the Major 3 rd note played together with the 5 th note , then going rapidly to the notes going down mentioned just before.

Every pianist that uses this lick has their own personal way of playing it. He was musically fluent in all 12 major and minor keys. He was an outstanding organist as well, and his piano playing reflects that especially in his left-hand bass lines and his use of right hand, full-sounding chords and voicing.

His unique, innovative, and deeply soulful arrangements of the songs he arranged often became the definitive and standard way of playing that song. Each performance is deep to the core, and they are all very different from each other as he is an absolute master of improvisation. Capitol 3, Warner Bros. Duration see all Duration. Box Set Double LP 5, LP , Single Triple LP Release Year see all Release Year.

Edition see all Edition. Collector's Edition 1, First Pressing 10, Limited Edition 4, Promo 4, Reissue 3, Special Attributes see all Special Attributes. Colored Vinyl 3, Import 3, Original Cover 3, Sealed 13, Decade see all Decade. Eric Bischoff and Matt Cardona! And the listener mailbag covers Rusev, Konnan vs. Sean Oliver, Tony Khan vs. Real Good Foods is the newest K sponsor!

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A real high point in Jimmy Smith's famous 60s run at Verve Records – a key collaboration with arranger Lalo Schfrin, who brings a great blend of jazz and soundtrack styles to Jimmy's famous groove on the Hammond! Lalo's backings are totally great – with touches of Latin and Brazilian LP, Vinyl .

8 thoughts on “Velveteen - Jimmy Smith (13) - Loving Each Other (Vinyl, LP)

  1. Classic Fight Club with Jimmy Smith: George St. Pierre's toughest fight!! - Duration: 14 minutes, 27 seconds.
  2. Jan 01,  · I'd like to get the best sounding Jimmy Smith on Blue Note. I assume the answer is the original Blue Note recordings, but I thought I would ask. How different are original issues, the New York USA labels (when original with a street address), and the Liberty labels? Do other vinyl issues (e.g., Japanese versions) rival these?
  3. The Sermon by Jimmy Smith is one of my all time favorite albums. I picked up the LP/Vinyl version of it in in Sasebo, Japan when in was in the Navy. I had my stereo set up on ship and played it constantly. Many years later I transferred it to cassette and years later I transferred it to a CD/5(86).
  4. Artist: Jimmy Smith Label: MOJO Orig. Released: Catalog No.: LPMOJO Condition: Sealed-Reissue Format: LP Retail Price: $ (0 available) Quantity: add to cart.
  5. Bill Henderson Sings With Jimmy Smith Trio - Ain't That Love 7" VG Vinyl. $ VERVE EX VINYL LP RECORD. $ + $ shipping. Mary Black ‎– Mary Black Sings Jimmy MacCarthy VINYL LP TULP $ + $ shipping -INTERNATIONAL / EACH ADDITIONAL RECORD IS $ *ALL LP'S ARE SAFELY SHIPPED IN LP MAILERS WITH Seller Rating: % positive.
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  7. Recordings made available under the Music Modernization Act. A reasonable search has been conducted to determine that these items are not commercially available. 5 second samples. fligogprenarogan.oglagaresursaddchatgoldmassoalalnea.infoinfo more on Internet Archive's fligogprenarogan.oglagaresursaddchatgoldmassoalalnea.infoinfo be aware that subsequent uses may not be.
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