From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2014 #1650 Reply-To: joni@smoe.org Sender: owner-joni-digest@smoe.org Errors-To: owner-joni-digest@smoe.org Precedence: bulk Unsubscribe:mailto:joni-digest-request@smoe.org?body=unsubscribe Website:http://jonimitchell.com JMDL Digest Thursday, January 8 2015 Volume 2014 : Number 1650 ========== TOPICS and authors in this Digest: -------- re: Robben Ford quotes ["johnnybgoode@lineone.net" ] The New Face of Saint Laurent [Betsy Blue ] Ringos drumming [Jeff Clark ] Ringo Starr, njc ["Jim L'Hommedieu" ] ---------------------------------------------------------------------- Date: Thu, 8 Jan 2015 19:12:40 +0000 (GMT) From: "johnnybgoode@lineone.net" Subject: re: Robben Ford quotes Karma, Dave, These are fascinating insights John >----Original Message---- >From: ckarma@hotmail.com >Date: 08/01/2015 16:40 >To: "joni@smoe.org", "Dave Blackburn" >Subj: re: Robben Ford quotes > >Dave wrote: I agree that the piano writing and the language she created on >piano, was >very special, and totally unlike her guitar writing - almost a different >composer. >On piano, her left hand technique of rolling eighth note arpeggios, was very >plain and undeveloped, but what she played against it, rhythmically and >harmonically, was really different. That is some of what I would talk about >if I get to present at the Lincoln Symposium. >I generally agree with that assessment, except that I feel that some of the >rhythmic and dynamic accents she tosses into her piano (with both hands) is a >similar take on her extremely unique loose right hand guitar style ("Paprika >Plains vs. "Cotton Avenue", or "One Week Last Summer" vs. "If.") On the >piano side, a great number of pieces illustrate Dave's note of her >ambidextrous counterpoint. The pieces (for me) that I feel show it easily are >"Blue", "Down To You", "Judgement of the Moon and Stars" and "If I Had A >Heart." There are two on HOSL and one on C&S, though that completely blow me >away in that her voice adds a third rhythmic/melodic element that is like >flavors melding in a slow cooker. On these tracks, the band anchors while her >piano and voice vapors curl and rise: "Shades of Scarlet Conquering" and "The >Boho Dance" from HOSL and "Car On A Hill" from C&S. When other orchestral and >band elements are added they often join in unison with the piano line and then >separate each taking turns to welcome the other back, like dancers. Ballet >analogy, anyone? (Wayne Shorter's sax notwithstandingthat's Pas de deux.) >It bears noting that Jaco didn't appear much on her piano trackshis fretless >sound was too sustained and melodic in most places. Her piano technique seems >tilted toward more rhythmic bassists. In the rare instances where he appeared >on a piano track, her piano became a rhythmic element. >CC ------------------------------ Date: Thu, 8 Jan 2015 13:18:32 -0500 From: Bob.Muller@Fluor.com Subject: Re: Ringos drumming I'll toss in some props for Brian Blade as well, with his original and creative techniques. Complements Joni's sound very well. For my money that Shadows & Light touring band from 1979 can't be beat. Bob NP: Meshell Ndegeocello, "Akel Dama (Field Of Blood)" From: Jeff Clark To: "joni@smoe.org" , Date: 01/08/2015 11:39 AM Subject: Ringos drumming Sent by: owner-joni@smoe.org In wikipedia there is a pretty good section on Ringos drumming, with assessments from George Martin, Phil Collins, and himself. Interesting to read. I like Joni's drummers Guerin on C&S, Don Alias and especially Alex Acuna on Passion Play.Jeff - ------------------------------------------------------------ The information transmitted is intended only for the person or entity to which it is addressed and may contain proprietary, business-confidential and/or privileged material. If you are not the intended recipient of this message you are hereby notified that any use, review, retransmission, dissemination, distribution, reproduction or any action taken in reliance upon this message is prohibited. If you received this in error, please contact the sender and delete the material from any and all computers and other devices. Any views expressed in this message are those of the individual sender and may not necessarily reflect the views of the company. - ------------------------------------------------------------ ------------------------------ Date: Thu, 8 Jan 2015 16:40:48 +0000 From: c Karma Subject: re: Robben Ford quotes Dave wrote: I agree that the piano writing and the language she created on piano, was very special, and totally unlike her guitar writing - almost a different composer. On piano, her left hand technique of rolling eighth note arpeggios, was very plain and undeveloped, but what she played against it, rhythmically and harmonically, was really different. That is some of what I would talk about if I get to present at the Lincoln Symposium. I generally agree with that assessment, except that I feel that some of the rhythmic and dynamic accents she tosses into her piano (with both hands) is a similar take on her extremely unique loose right hand guitar style ("Paprika Plains vs. "Cotton Avenue", or "One Week Last Summer" vs. "If.") On the piano side, a great number of pieces illustrate Dave's note of her ambidextrous counterpoint. The pieces (for me) that I feel show it easily are "Blue", "Down To You", "Judgement of the Moon and Stars" and "If I Had A Heart." There are two on HOSL and one on C&S, though that completely blow me away in that her voice adds a third rhythmic/melodic element that is like flavors melding in a slow cooker. On these tracks, the band anchors while her piano and voice vapors curl and rise: "Shades of Scarlet Conquering" and "The Boho Dance" from HOSL and "Car On A Hill" from C&S. When other orchestral and band elements are added they often join in unison with the piano line and then separate each taking turns to welcome the other back, like dancers. Ballet analogy, anyone? (Wayne Shorter's sax notwithstandingthat's Pas de deux.) It bears noting that Jaco didn't appear much on her piano trackshis fretless sound was too sustained and melodic in most places. Her piano technique seems tilted toward more rhythmic bassists. In the rare instances where he appeared on a piano track, her piano became a rhythmic element. CC ------------------------------ Date: Thu, 8 Jan 2015 16:43:25 -0800 From: Betsy Blue Subject: The New Face of Saint Laurent What do you guys think about Joni's new modelling gig? I'm in favor. Betsy ------------------------------ Date: Thu, 8 Jan 2015 16:33:35 +0000 (UTC) From: Jeff Clark Subject: Ringos drumming In wikipedia there is a pretty good section on Ringos drumming, with assessments from George Martin, Phil Collins, and himself. Interesting to read. I like Joni's drummers Guerin on C&S, Don Alias and especially Alex Acuna on Passion Play.Jeff ------------------------------ Date: Sun, 4 Jan 2015 00:43:03 -0500 From: "Jim L'Hommedieu" Subject: Ringo Starr, njc Hi Michael, Welcome to the JMDL. I think you've posted on the list before. Can't be sure. Seems like many dim years ago. After i explored the Beatles in minute detail, moved on, and came back, I appreciated Ringo more. In all of those fantastic, hyper-influential albums, i don't think he repeated himself. One of my favorite parts was on John's "Come Together". Im thinking about the part right after this: >come together >right now-ooo-ow... >over me That song was a long way from the early records, with one skiffle song after another. If i remember right, when Aerosmith rebuilt it, they kept that bit. So this is the retraction of the week. Jim >Michael Paz > WoW! I Lots of good stuff here cept I still think Ringo was one of the greatest drummers of all time and I think was quite technical and came up with beats and grooves that NO ONE on this planet was playing. ------------------------------ End of JMDL Digest V2014 #1650 ****************************** ------- To post messages to the list,sendtojoni@smoe.org. Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------