This one is a very slow and mellow rendition of \"Body and Soul\" that tenor man Coleman Hawkins made famous. Think 2 A.M. in a dark apartment overlooking the manhattan skyline with a cigar and snifter of cognac (my favorite way to unwind).
The piano is the Post Grandioso Steinway D 16 layer dry maple program in Giga. This is such an inspiring sound for jazz piano- I love it! The Bass is the Trilogy acoustic bass, and the brush drums are Groove Agent (although the groove sequence has been highly modified). I hope you enjoy, and feel free to share any feedback.
What a sweet thing. It makes me think about the lack of jazz demos here on Northern. Please allow me to make a humble suggestion. I am great jazz fan and have great emotional attachment to this particular style of music.
You obviously have a great sense on the piano. But try to loosen a bit up on the drums. The brushes could scratch a little more with human feel. When trios play its a constant chase and mutual inspiration between the three parties. So be aware of the two other players as well. They get paid too.
Anyway. You just do what you want to. But it never hurts to experiment with on/off functions of the quantizer.
Thank you for the useful feedback. I spent quite a bit of time on the drum track, and I may have to work on it some more. I\'m going to look into the purrfect drum brush samples. I was also wondering, myself, if I overdid the sustain pedal. The great thing about midi is that it makes it easy to play around with those things.
BTW the website is down, aparently Lycos doesn\'t allow their free domains to post files for sharing. I\'m moving to a new host over the next few days.
The sustain pedal was used slightly more than expected thus allowing some low mid range tones to suatain themselves into the next chord changes played. I noticed this immediately while listening. This is why I questioned your choice of chords. The best thing to be is objective and reevaluate all of your scores even if it is scored for a trio.
BTW, Did you ever visit my site below or hear my smaller ensemble scores on Bardstownaudio.com in the Mp3 section? Please visit and give a listen to \"It\'s Wonderful\" \"You Are So Beautiful\" and the up tempos such as \"My Romance\" \"How My Heart Sings\"
\"How High The Moon\" etc..there are lot\'s more..
I\'m not a great fan of Jazz trios to be honest but I\'m always interested as to how realistically folk are able to reproduce various genres. Yours sounds..... Nice. The piano and bass are brilliant. I thought the bass was excellent. (Isn\'t it marvellous times we live in that it is possible to recreate such instruments so beautifully) I think that the brushes are weak and I don\'t think that the problem is so much with the samples as the lack of detail programming.
I agree with the lady, the brush need more natural variation. As well as randomly kicking it off the beat I would also get into the key editor and randomly alter the velocity and maybe even draw in crescendo/ decrescendos if appropriate...to give more feel. Perhaps even copy the track and put a different filter on one and delete notes so that only one track has the note at any one time.....all tedious but adds variation. This sort of thing may not be possible in Groove Agent.
Having said that if I was listening casually with that playing in a club I would be totally convinced. [img]images/icons/smile.gif[/img]
I wish I could play the piano as well as you!
If you don\'t know what you are talking about, say it anyway.
these types of tunes being classic ballads of the 40\'s 50\'s etc..really need to be played in real time as in the case here. The tweaking of the piano after the real time playing is laid down is very unnatural IMHO. (This doesn\'t include final mixes adding a few effects) If you have a great sampled piano, (With respect to the Piano being used here-I will not mention what I employ) after touches and tweaks defeat the sound developers intent. As in Classical music, tweaking and refining notes is essential IMHO and has its place here but as for a small Jazz trio, it really doesn\'t need this technical tweaking. These are not movie projects, we are in a cub here sipping a few drinks..
In this work, a nice pair of swirling brushing with accents here in there will fill in the gaps that were supported by the sustain pedal being a bit used as a security blanket while chords found their transitions.
This is how I score as a real time player. I rely on many takes to nail down what impresses me and what I think should be fairly critiqued by the public and my contempories such as yourself.. The first take of anything asks the question, can I improve it? Some arrangers leave it and some take it to its limits getting greedy and actually losing its original expression. Sometimes a brand new idea is born but we really shouldn\'t lose sight of our original objectives.
Thank you all for taking the time to listen, and for the excellent suggestions.
Alan, I\'ve visited your sight and really like what I hear. I want to spend some time listening and trying to absorb all I can- it\'s very difficult to do jazz well via midi and you seem to have mastered it. I can\'t believe the horns in Satin Doll- these are so hard to do with samples.
Your observation of the use of the sustain pedal makes a great deal of sense. My jazz experience is primarily playing tenor sax and most of the piano riffs are tenor phrases (I quote some Stan Getz licks in Body and Soul). I do have brush swirls in there, but they\'re buried too much in the mis, I think and, as others have pointed out (correctly), too mechanical. BTW, what drum samples do you use?
Hardy, thanks for the post, and I wish I could play that well myself- there was a lot of midi \"cheating\" going on, I could not just sit down at the piano and play that (I had to be honest).
whatever you arrange and or compose in the Jazz genre, I\'ll always be there to listen.
I\'m known as saxman28 in the Motifator.com Mo-Songs forum and I too began at 12 years old with A Mark VI Tenor Sax playing professionally in the CatSkill Region of Upsate NY at 15 years old in show bands. I know exactly where your roots are...
I truly appreciate your objective response and do concur with you in the open sense..
Let\'s stay in touch..
BTW, coming next from my camp:
\"Where Is The Love\"
I am going to debut a great Cup Mute trumpet still in a beta sample (from Berkely College)among the Borsendorfer and Gibson Guitar out of Kip McGuinness\'s camp.
The rest will be all Motif 8 Synth Brass..