Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - MarvinGaye1978HereMyDear

Pages: [1]
Classic & Modern Fender Rhodes Artists / Elton John
« on: February 21, 2007, 02:55:55 PM »
it seems to me effected rhodes sounds in "shooting star" from
A Single Man 1978 album

unfortunately i dont have any records by joe zawinul except miles's album IN A SILENT WAY where he took part and Black Market by Weather Report.  ( i have all miles davis 60s albums except Jack Johnson) . i just read Miles said it was that way, so i am sorry i was wrong and thanks a lot for information!

"Paraphernalia" - track from "Miles In The Sky" was played on acoustic grand piano not on wurlitzer and btw it includes young George Benson on guitar.

there definetely was a record before miles davis started using rhodes.
Miles said that he was inspired by track "MERCY, MERCY, MERCY" by Joe Zawinul and Cannonball Edderly where Joe played Rhodes.
So he decided to use it as well and asked Herbie to play it on "Miles In The Sky" album sessions

thanks again, mate!!! :D  :D


article from

Suitcase Vintage Tube Preamp
Class A Tube Preamp with EQ and Stereo Tremolo Effect

Like the B-3, the Fender Rhodes is imitated in just about every current workstation and stage synth. And while the emulations get more and more playable, musical, and satisfying with each passing year, the trademark square-wave tremolo of the real thing is often under-scrutinized and rendered underwhelmingly. A “suitcase” Rhodes sits on top of a huge amp cabinet loaded with four 12" speakers, which adds much thickness and a specific resonance to the sound. The Suitcase Vintage Tube Preamp aims to give you that sound whether you’re using the real thing or a sampled/modeled imitation.

You may note with dismay that this is a mono-input device. It’s less than ideal if your synth doesn’t have multiple outs and you need to play other sounds on it during the set, but it’s perfectly fine if you’re dedicating a keyboard to Rhodes duty or have the ability to assign your digiRhodes to a separate output on a keyboard or module you use for other sounds as well.

Much of the circuitry in the SVTP is designed after the classic blackface Fender Twin. Speakeasy has changed the EQ a little to better tailor it for keyboards; specifically, the high EQ point has been brought down to around 6kHz, which is more useful in sculpting the Rhodes tone, which is far mellower than electric guitar.

The Dyno Filter interacts with the EQ in cool and useful ways. Together, the filter and EQ offer everything from mellow Rhodes pads perfect for ballads or loungey vibes to snarky comping tones that are deadly in a funk context.

The tremolo circuit is the headline act here and it gets a standing O. Just like the real thing, it pans back and forth in such a way that you perceive a little chorus or some kind of pitch modulation where there’s actually none. Also like the real thing, there’s a split second during each cycle where the sound is in both channels; this is the key to the realism and something the simulations built into multieffects units and workstation synths don’t always nail. Handily, the tremolo is footswitchable from a front-panel jack.

I connected a few different axes to the SVTP. My Rhodes, bearing its own battery-operated Dyno-My-Piano preamp, had plenty of gain to drive the SVTP into a lovely, blooming, fat tone. Now that’s the stuff. There was clarity, there was meat, there was thunk. The tone lacked nothing.

The Clavia Nord Electro 2 was, to borrow from a favorite TV chef, “kicked up a notch.” With its chorus or phaser operating in tandem with the preamp’s tremolo, the sounds were things of majestic beauty. Results were the same with the Yamaha Motif Rack’s excellent Rhodes sounds. With tremolo intensity set at a moderate level, even leaving the Motif’s reverb active didn’t completely ruin the illusion.

I was a little disappointed that I couldn’t get more beastly textures out of the SVTP. For maximum grunge, you need to really pump the level of signal you’re feeding into the box; on its own it offers overdrive of the “warming and fattening” variety but stops well short of rabid. Speakeasy says it wasn’t designed for crunch, but putting a Fat Box inline between your source and the preamp can give you that mad-dog tone.

Dead-accurate tremolo and wonderfully organic EQ make the Suitcase Vintage Tube Preamp a joy to use. Construction quality is right up there with hand-built boutique guitar amps. While it might be nice to have a rear-mounted input and footswitch jack for touring applications (as it is, the cables can get in the way of other devices racked up near the preamp), and it’d be nice not to have to use an add-on device to get animalistic distortion, neither of these criticisms has that much weight. This is a great-sounding box with lots of potential for creative abuse and tone doctoring on non-Rhodes sounds. It doesn’t exactly come cheap at $750, but hand-built devices like this usually don’t. Take a listen to the online mp3 and see if the oh-so-vintage but impossibly clean tone doesn’t inspire gear lust. (And see if you can determine if it’s the Rhodes or one of the clones I’m playing.) - KEN HUGHES

Amps, Effects & Recording Techniques / Fluid Tube Preamp
« on: August 28, 2006, 07:17:50 AM »

does anybody have experience with this unit?
it can be use with rhodes

i have found this description but its in French
Le Fluid Tube Preamp est un préamplificateur microphones, instruments et boitier de direct en pure classe A. Sa conception a été optimisée pour une reproduction de qualité professionnelle, le respect de l'intégralité du spectre audio, une reproduction fidèle précise et dynamique, avec la chaleur que les lampes et ce type de montage confèrent aux préamplis professionnels. C'est un préamplificateur "hybride" dont l'étage d'entrée doté d'un ampli-op Analog Devices haut de gamme, la lampe ECC82 se trouvant en sortie. Un transformateur spécialement élaboré pour le Fluid Tube Preamp garantit la symétrisation et fait donc office de boitier de direct pour la scène. Le Fluid est un outil indispensable et sans compromis pour ceux qui veulent dans leur chaîne audio du matériel professionnel pour un prix trés accessible.


i am big fan of Toby Smith , ex keyboards player from english band

i was wondering if anybody knows what kind of
modification this exactly rhodes has (Toby Smith has many different Rhodes pianos in his collection).
And what is that rack unit placed on the top of his Hohner Clavinet D6? Look at the pics, ok.

Classic & Modern Fender Rhodes Artists / Hit the rhodes, Jack
« on: August 15, 2006, 12:56:46 PM »
i have found this release featuring tracks performed on rhodes piano.

1.  Hit The Road Jack" (Intro)
2.  Hampton Hawes - "Web"
3.  David Axelrod feat George Duke - "Mucho Gapar"
4.  Joao Donato - "Nana Das Aguas"
5.  Cedar Walton - "Low Rider"
6.  Ramsey Lewis - "Jungle Strut"
7.  Roy Ayers feat Harry Whitaker - "Aragon"
8.  Kool & The Gang feat Ricky West - "North, East, South, West"
9.  Lonnie Liston Smith - "Get Down Everybody"
10.  Donny Hathaway - "Valdez In The Country"
11.  Latimore - "Sweet Vibrations"
12.  Dr Lonnie Smith - "Sizzle Stick"
13.  Stanley Cowell - "The Stroker"
14.  Dizzy Gillespie feat Sonny Burke - "The Last Stroke Of Midnight"
15.  Gabor Szabo feat Bob James - "Ziggidy Zag"
16.  Eddie Henderson feat Herbie Hanc**k - "Butterfly"
17.  Patrice Rushen - "The Hump"

do you know if i can pay for major key parts
with my credit card without paypal?

wow thanks mate!!!
i dont have any of these albums so far (except "from left to right")
so thanks for letting us know about them!!!

thanks for advice mate!!! :wink:
i'll try to find Bill Evans Album!
and about "From Left To Right" -
orchestra strings, flutes, guitars, percussion etc make it sound amazing in my opinion. today i listened to Lullaby for Helene and Dolphin - bebore and they are brilliant. I guess i just love Bill Evans' style.


i wanted to tell about one album of a famous jazz pianist, Bill Evans, who was one of Miles Davis pianists (f.e. he recorded "kind of blue" with him in 1959).

So this album i am speaking about, "From Left To Right" has some beautiful sounds of early Fender Rhodes piano mixed with Steinway acoustic piano. I hope you will love it.

Inventor Harold Rhodes pays tribute in the notes to Bill Evans's mastery of Rhodes's electric piano.  And Evans skillfully shifts from playing electric to acoustic and back again -- sometimes within one track.  But it's "The Dolphin," presented both before and after the flutes, strings, and percussion have been innovatively overlayed, that epitomizes this singular entry in Evans's celebrated discography.

Description from :
In the '60s the jazz pianist Bill Evans would occasionally record an orchestral "easy listening" session to pay the bills, with predictably mediocre results. But FROM LEFT TO RIGHT, while certainly easy on the ears, is also one of Evans' most intriguing "lost" records, brought to us courtesy of Verve's winning "By Request" series. The novelty is that Evans plays both Fender Rhodes and acoustic piano simultaneously in real time, trading off themes and improvs with deliberative taste and, of course, rare skill. The sessions were produced by Evans' long-time, protective manager Helen Keane, so there was little danger of "selling out".

Unobtrusively arranged by Michael Leonard, this 1969 release resembles nothing so much as famed bossa nova composer Antonio Carlos Jobim's series of shimmering instrumental albums with arranger Claus Ogerman, even without those gently relentless rhythms driving every tune. Still, the highlight of this album is thedancing two-part "The Dolphin - Before & After", a non-Jobim bossa nova which allows Evans his only extended improvisations.

Delicate and Delicious
Of all the Bill Evans albums I have heard, this one is quite outstanding. Like 'conversations with myself' this is another studio experiment, this time (much more succesfully) mixing Fender Rhodes with Piano, plus (in some cases) overdubbed orchestra. There are even sleeve notes from Mr Rhodes! The two instruments blend perfectly together, both affording different kinds of dynamic which allow him to trickle and pour his delicate phrases back and forth as though giving air to a robust fine red wine. The airiness is needed too, because harmonically, he's as 'out there' as Thelonious Monk, but his melodic style makes it much more palatable. It's also fascinating to hear different versions of the same track, with and without orchestra. This CD works equally well in the background at a candlelit dinner, or with headphones in the dark, or anywhere in between. Sublime.

listen to samples from
From Left To Right
Catalog #3145574512


bill evans links

Here is some information about Bill Evans' life:

Bill Evans, one of the most influential and tragic figures of the post-bop jazz piano, was known for his highly nuanced touch, the clarity of the feeling content of his music and his reform of the chord voicing system pianists used. He recorded over fifty albums as leader and received five Grammy awards. He spawned a school of “Bill Evans style” or “Evans inspired” pianists, who include some of the best known artists of our day, including Michel Petrucciani, Andy Laverne, Richard Beirach, Enrico Pieranunzi and Warren Bernhardt. His inescapable influence on the very sound of jazz piano has touched virtually everybody of prominence in the field after him (as well as most of his contemporaries), and he remains a monumental model for jazz piano students everywhere, even inspiring a newsletter devoted solely to his music and influence.

Early life
Bill Evans was born to a mother of Russian Orthodox background and a father of Welsh descent in Plainfield, New Jersey. He received his first musical training in his mother's church.

His mother was also an amateur pianist with in an interest in modern classical composers. This caused his initial musical training to be classical piano at age 6. He also became proficient at the flute by age 13 and could play the violin.

At 12 he filled in for his older brother in Buddy Valentino's band. This event is occasionally credited for starting his interest in jazz. In the late 1940s he played boogie woogie in various New York clubs. He went on to receive a music scholarship to Southeastern Louisiana University and in 1950 he graduated with a degree in piano performance and teaching. Later he studied composition at the Mannes College of Music. After some time in the Army he worked at dance clubs with jazz clarinetists and guitarists.

Working in New York in the 1950s, Evans gained a profile as a sideman in traditional and so-called third stream avant-garde jazz bands. During this period, he had the opportunity to record in many different contexts with some of the best names in jazz of the time. Recordings made with seminal composer/theoretician George Russell are notable for Evans's solo work, including the famous "All About Rosie." He also recorded notable albums under the leadership of Charles Mingus, Oliver Nelson, and Art Farmer. In 1956, he made his debut album, New Jazz Conceptions, for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans because of a demo tape played to him over the phone by guitarist Mundell Lowe. In 1958, Evans was hired as the only white musician in the famed Miles Davis Sextet. Though his time with the band was brief - no more than eight months - it was one of the most fruitful collaborations in the history of jazz, as Evans introspective scalar approach to improvisation deeply influenced Davis's conception. His desire to pursue his own projects as a leader, problems with drug use, and conflicts with other band members led him to leave Davis. However, he returned to the band at Davis's request to record the jazz classic, Kind of Blue. Evans's contribution to the album was overlooked for years; in addition to writing the song "Blue in Green" (credited to Davis), he also developed the germ of the track "Flamenco Sketches" on his 1958 recording "Peace Piece" from his album Everybody Digs Bill Evans. By the end of the decade, he had started his own trio.

At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group has since become one of the most acclaimed piano trios of all time. With this group, Evans' focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation. The collaboration between Evans and the talented young bassist LaFaro was particularly fruitful, with the two achieving an unprecedented level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959), Explorations, Sunday at the Village Vanguard, and Waltz for Debby (all recorded in 1961). The latter two albums are live recordings, both drawn from the same recording date; in 2005, the full sets were collected on The Complete Village Vanguard Recordings.

In addition to revolutionizing the dynamics of the jazz trio, Evans began to display a lower dynamic range in his music. His chordal voicings became more impressionistic, drawing deeply from classical composers such as Debussy and Satie, as well as moving away from the thick block chords he often utilized when playing with Davis. His sparse left-hand voicings supported his lyrical right-hand lines, as much a product of the influence of jazz pianist Bud Powell as any classical composer.

LaFaro's untimely death at age twenty-five in a car accident, ten days after the Vanguard performances, devastated Evans. He did not record or perform in public again for several months. When he reformed his trio in 1962, he replaced LaFaro with bassist Chuck Israels, initially keeping Motian on the drums. Two albums, Moonbeams and How My Heart Sings!, resulted. In 1963, after having switched from Riverside to the much more widely distributed Verve, he recorded Conversations With Myself, an innovative album on which he employed "over-dubbing", layering up to three individual tracks of piano for each song. The album won him his first Grammy award, for Best Instrumental Jazz Performance - Soloist or Small Group.

Though his time with Verve was prolific in terms of recording, his artistic output was uneven. Despite Israels's fast development and the creativity of new drummer Larry Bunker, they were ill-represented by the rather perfunctory album Trio '65. Some unique contexts were attempted, such as a big-band live album at Town Hall, which was recorded but never issued due to Evans's dissatisfaction (although the trio portion of that concert was made into its own successful release), and an album with a symphony orchestra, which was never warmly received by critics.

During this time, Helen Keane, Evans's manager, began having an important influence. Apart from being the first woman in her field, she significantly helped maintain the progress, or prevented the deterioration, of Evans's career inspite of his self-damaging lifestyle.

In 1966, Evans discovered the remarkable young Puerto Rican bass player Eddie Gomez. In what turned out to be an eleven-year stay, the sensitive and creative Gomez sparked new developments in both Evans' playing and trio conception. One of the most significant releases during this period is Bill Evans at the Montreux Jazz Festival, from 1968. Although it was the only album Evans made with drummer Jack DeJohnette, it has remained a critical and fan favorite, due to the trio's remarkable energy and interplay.

In 1964 Evans recorded Waltz for Debby, an album with the Swedish jazz vocalist Monica Zetterlund.

In 1969, Marty Morell joined the trio on drums and remained until 1975, when he retired to family life. This became Evans's most stable and long-lasting group. In addition, he had kicked his heroin habit and was entering a period of personal stability as well. The group made several excellent albums, including The Bill Evans Album, Since We Met, and The Tokyo Concert. Morell was an energetic, straight-ahead drummer, unlike many of the other percussionists in the trio, and many critics feel that this was a period of little growth for Evans. After Morell left, Evans and Gomez recorded two duo albums, Intuition and Montreux III.

Morell was replaced by Eliot Zigmund on drums in 1976. Several interesting collaborations followed, and it wasn't until 1977 that the trio was able to record an album together. Both I Will Say Goodbye (Evans's last for Fantasy Records) and You Must Believe in Spring (for Warner Bros.) highlighted changes that would become significant in the last stage of Evans career. A greater emphasis was placed on group improvisation and interaction, Evans was reaching new expressive heights in his soloing, and new experiments with harmony and keys were attempted.

Gomez and Zigmund left Evans in 1978 and Evans asked Philly Joe Jones, his old drummer friend from the Miles Davis Sextet days, to fill in. Several bassists were tried, with the remarkable Michael Moore staying the longest. His six months with the trio were frustrating due to Jones's rushing of the tempo and overplaying. Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums. This trio was to be Evans's last. Although they released only one record prior to Evans's death in 1980, they recaptured something of the quality of the first trio in their powerful group interactions. Many albums and compilations have been released in recent years, including three multi-disc boxed sets, Turn Out the Stars (Warner Bros.), The Last Waltz, and Consecration (both on Milestone).

The 1970's also saw Evans collaborate with the singer Tony Bennett on 1975's The Tony Bennett/Bill Evans Album and 1977's Together Again.

Chemical dependency
Evans's chemical dependency problems most likely began during his stint with Miles Davis in the late 1950s. A heroin addict for most of his career, his health was generally poor and his financial situation worse for most of the 1960s. In the late 1970s, cocaine became a serious problem for Evans. His body finally gave out in 1980, when Evans, ravaged by psychoactive drugs, a perforated liver, and a lifelong battle with hepatitis, died in New York City of bronchial pneumonia.

Historical impact
Although the circumstances of his life were often difficult, Evans's music always displayed his creative mastery of harmony, rhythm, and interpretive jazz conception. Evans work fused jazz elements and a unique conception of ensemble performance with a classical sense of form and conceptual scale in unprecedented ways. His recordings continue to impact the work of pianists, guitarists, composers, and interpreters of jazz music around the world.


Yet Bill Evans was a person who was painfully self-effacing, especially in the beginning of his career. Tall and handsome, literate and highly articulate about his art, he had a “confidence problem” as he called it, while at the same time devoted himself fanatically to the minute details of his music. He believed he lacked talent, so had to make up with it by intense work, but to keep the whole churning enterprise afloat he took on a heroin addiction for most of his adult life. The result was sordid living conditions, a brilliant career, two failed marriages (the first ending in a dramatic suicide), and an early death.


Bill Evans was born in Plainfield, New Jersey, in 1929, of a devout Russian Orthodox mother and an alcoholic father of Welsh origins, who managed a golf course. Evans' Russian side accounts for the special feeling many of his Russian fans have for him that he is one of them. Bill received his first musical training in his mother's church; both parents were highly musical. He also held a lifelong attachment to the game of golf.

Bill began studying piano at age six, and since his parents wanted him to know more than one instrument, he took up the violin the following year and the flute at age 13. He became very proficient on the flute, although he hardly played it in his later years. Proficiency at these instruments in which great emphasis is laid on tonal expressiveness, might have encouraged Evans to seek the similar gradations of nuance on piano. He did, of course, thereby extending the expressive range of jazz piano.

Evans' older brother Harry, two years his senior, was his first influence. Harry was the first one in the family to take piano lessons, and Bill began at the piano by mimicking him. He worshipped his older brother and tried to keep up with him in sports too, and was devastated by his death in 1979 at the age of 52.

By age 12 he was substituting for his older brother in Buddy Valentino's band, where at one point he discovered a little blues phrase by himself during a stock arrangement performance of “Tuxedo Junction.” It was only a Db-D-F phrase in the key of Bb, but it unlocked a door for him, as he said in an interview, “It was such a thrill. It sounded right and good, and it wasn't written, and I had done it. The idea of doing something in music that somebody hadn't thought of opened a whole new world to me.” This idea became the central one of his musical career.

Also, by the late 40s Evans considered himself the best boogie-woogie player in northern New Jersey, according to an interview with Marian McPartland on the radio show Piano Jazz. That was the musical rage at the time; later, however, Evans rarely played blues tunes in his performances or on his recordings.

Evans' Reading Habits

Evans' mother was an amateur pianist herself and had amassed piles of old sheet music, which the young Bill read through, gaining breadth and above all speed at sight reading. This enabled him to explore widely in classical literature, especially 20th century composers. Debussy, Stravinsky, notably Petrouschka, and Darius Milhaud were particularly influential. He found this much more interesting than practicing scales and exercises, and it eventually enabled him to experience broad quantities of classical music. As he told Gene Lees, “It's just that I've played such a quantity of piano. Three hours a day in childhood, about six hours a day in college, and at least six hours now. With that, I could afford to develop slowly. Everything I've learned, I've learned with feeling being the generating force.” (Lees, Meet Me, p. 150). And as he later told Len Lyons, playing Bach a lot helped him gain control over tone and to improve his physical contact with the keyboard (Great Jazz Pianists, 226).

College and After

Evans received a music scholarship to Southeastern Louisiana College (now Southeastern Louisiana University) in Hammond, Louisiana, where he majored in music, graduating in 1950. There is an archive there now dedicated to him administered by Ron Nethercutt. His professors faulted him for not playing the scales and exercises correctly, although he could play the classical pieces perfectly with ease. In college he discovered the work of Horace Silver, Bud Powell, Nat King Cole and Lennie Tristano, who was to have a profound influence on him. He also participated in jam sessions with guitarist Mundell Lowe and bassist Red Mitchell. After college he joined reedman Herbie Fields' band. It was in this last position that he learned to accompany horn players. After that he spent 1951 to 1954 in the army, during which he managed to gig around Chicago. Upon his discharge he decided to pursue a jazz career and settled in New York. There he worked in the dance band of clarinetist Jerry Wald and saxophonist Tony Scott, and became known as an exceptional player in musicians' circles. His first professional recording was made accompanying singer Lucy Reed in 1955, and in 1956 he joined George Russell's avant-garde band and began studying Russell's Lydian Chromatic Concept.

First Recording as Leader

In 1956 Mundell Lowe called Orrin Keepnews at Riverside and prevailed upon him and his partner Bill Grauer to listen to a tape of Evans over the phone. This was highly unusual, but Keepnews and Grauer heard enough to convince them they had to record Evans. But first they had to convince him! The very self-effacing Bill Evans didn't believe he was ready to record, and Keepnews and company had to persuade him to the contrary. The atmosphere in the studio was relaxed. Evans had chosen Paul Motian, his drummer with Tony Scott, and Teddy Kotick, an excellent young bassist, who had already worked with Charlie Parker and Stan Getz. They recorded 11 pieces in a single day in September of 1956-it was Riverside's money saving policy-including four Evans originals: “Five,” “Conception,” “No Cover, No Minimum,” and the eventual classic “Waltz for Debbie.” This last tune was one of three short (under 2 minutes) piano solos Evans recorded after the other members were dismissed. The album, entitled “New Jazz Conceptions” was a critical success, winning Evans very positive reviews in Down Beat and Metronome (by Nat Hentoff). But it only sold 800 copies in a year.

Gaining Experience

As a sideman that year and the next he also recorded with trombonist Bob Brookmeyer, trumpeter Art Farmer, and reedmen Lee Konitz and Jimmy Giuffre, vibest Eddie Costa, and avant-garde conductor-composer (-pianist) George Russell, whose Lydian harmonic system Evans had found very useful. That year he also met Scott LaFaro, while auditioning him for a place in an ensemble led by trumpeter Chet Baker. Evans was impressed by the young bassist, whom he found overflowing with almost an uncontrolled energy and creativity. When Evans later chose LaFaro for his own trio he found that LaFaro had his talents under better control.

During a concert at Brandeis University in 1957, which combined written-out classical style music and jazz improvisation (before Gunther Schuller had founded the “third stream” movement, which claimed to do just that) Evans distinguished himself during a long solo on George Russell's ”All About Rosie.” Schuller and Russell were part of the event, along with jazz bassist Charles Mingus, Jimmy Giuffre and composers Milton Babbitt and Harold Shapiro. The solo constituted the announcement of the arrival of a new major talent, which his subsequent recordings would soon confirm.

Miles Hires Him

Evans' big break, though, came when Miles Davis hired him shortly thereafter, putting him in a rhythm section behind John Coltrane and Cannonball Adderley in addition to himself. Miles' former pianist, Red Garland, had walked out on him, and Miles needed someone more versatile anyway. He was looking for a player who could handle modal playing, and Evans was it. He had met Evans through George Russell, with whom Evans was studying.

A performance of the Ballet Africaine from Guinea in 1958 had originally sparked Miles' interest in modal music. Miles had very big ears and was always listening for new musical currents, both inside himself, from his past, and to new sources fellow musicians brought him. This African music, which featured the finger piano or kalimba, was the kind of music which stayed for long periods of time on a single chord, weaving in and out of consonance and dissonance. It was a very new concept in jazz at the time, which was dominated by the chord-change based music of bebop, which was really an extension of the American popular song. Miles realized that Evans could follow him into modal music. Moreover, Evans introduced Miles to Rachmaninoff, Ravel and Khachaturian, revealing new scales to him and generally expanding his appreciation for classical music.

Miles found Evans a very quiet, self-effacing person, so he wanted to test Evans' musical integrity. After all, Evans was the only white guy in a powerful, prominently black band. Miles needed to see if he would be musically intimidated, so he said to Evans one day,

”Bill, you know what you have to do, don't you, to be in this band?”

He looked at me puzzled and s**t and shook his head and said, “No Miles, what do I have to do? I said, “Bill, now you kow we all brothers and s**t and everybody's in this thing together and so what I came up with for you is that you got to make it with everybody, you know what I mean? You got to f... the band.” Now I was kidding, but Bill was real serious, like Trane [John Coltrane].

He thought about it for about fifteen minutes and then came back and told me, “Miles, I thought about what you said and I just can't do it, I just can't do that. I'd like to please everybody and make everyone happy here, but I just can't do that. I looked at him and smiled and said, “My man!” And then he knew I was teasing. (Davis, 226)

So Evans passed the test. Here's why Miles liked Bill's playing:

Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got was like crystal notes or sparkling water cascading down from some clear waterfall. I had to change the way the band sounded again for Bill's style by playing different tunes, softer ones at first. Bill played underneath the rhythm and I liked that, the way he played scales with the band. Red's [Garland] playing had carried the rhythm but Bill underplayed it and for what I was doing now with the modal thing, I liked what Bill was doing better. (Davis, 226)

Evans made 10 albums with Miles in less than a year they were together, February to November, 1958. But Evans was uncomfortable in the group after seven months. He wanted to form his own-so did Adderley and Coltrane. They would all eventually become leaders in the field, and Miles' group, despite the fact that it was at the top of the jazz field, was hemming them in. In addition, Evans disliked all the travelling, and the harrassment he was getting from black fans about being the only white musician in the group was getting to him-it was disturbing to Miles too. There was also the annoying criticism that he didn't play fast enough or hard enough, that his playing was too delicate.

Evans' Second Album as Leader

Evans had his second outing as a leader, once again for Riverside, in December 1958. He had officially left Miles' group by that time. For this recording he chose Miles' drummer Philly Joe Jones, with whom he worked many times after that, and Dizzy Gillespie's bass player Sam Jones (no relation), who went on to a longterm relationship with Cannonball Adderley. The influence of his stay in Miles' band is clear from his driving version of “Night and Day” as well as his choice of and performance on the hard bop tunes “Minority” by Gigi Gryce and “Oleo” by Sonny Rollins.

The real classic during that session is his original “Peace Piece,” which was originally conceived as an extended introduction to Leonard Berstein's standard “Some Other Time.” It became a jazz standard, and he performs it during a 6 minute 41 second piano solo on the album. The tune is based on a succession of scales, which the player extends at will before going onto another scale, a new kind of balance at the time between structured and free (although similar in concept to Indian ragas) The tune, therefore, would never be played the same way twice.This is the nature of a free piece: the structure as well as the melody is unique to each individual performance occasion.

Along with the more driving swing in this album came a more personal, more nuanced touch. Evans was moving away from the dominant influences of his jazz formation-Bud Powell, with his extended horn lines, and Horace Silver, with his bluesy percussive approach-and toward the sound that would characterize his mature years. It testifies to a large amount of exploration and growth in the 26 months between the two recording sessions, including the assimilation of the influence of Lennie Tristano's long flowing lines into his playing.

Since the stint with Miles had only benefited Bill's reputation, Keepnews decided to title the album Everybody Digs Bill Evans and put testimonials from Davis, George Shearing, Ahmad Jamal and Cannonball Adderley on the cover. Issued in May, 1959, it sold much better than the first one.

read more here:

The Fender Rhodes Electric Piano / I have a Rhodes and a minimoog
« on: May 04, 2006, 06:19:11 AM »
Quote from: "Elena"
In the future I would like to have the clavinet d6.
The only effect I use for the Rhodes is the Small Stone phaser.
I had this since 1979. Anyone having experience with this effect?

Is Crumar consider to be the best string option?



if you love oldschool vibe and sound, 70s soul, funk, jazz
the best stringer is ARP Solina.

the coolest 70s effect for rhodes i've heard
is Electro-Harmonix "Electric Mistress".
heres description and mp3 clip >>>

and here is a little advice for you:

Use autowah pedal attached to your minimoog.
autowah is 50% of classic 70s funky minimoog sound.
try to use an Ibanez Autowah which gives a great '70s sound. It has an auto filter which produces this wow-wow-wow sort of sound. also you should use delay on the Moog.

And if you have extra money try also a Mutron III envelope filter which you can use on one of the keyboards for examlple on the Clavinet to get a really envelopy FUNKY 'bow-wow' sort of thing.

the coolest clavinet is hohner clavinet DUO model -the last hohner clavinet model.
it has clavinet and pianet sounds in it , which you can mix while playing if you want. Pianet sounds a little bit similar to rhodes, PIANET was invented if i am not mistaken in 60s..Really cool instrument!!!

(and theres an ultra rare hohner model - STRING PERFORMER - it has 7 different sounds !!!! - strings, clavinet, pianet, etc )

and of course buy yourself a wah pedal to attach it to rhodes and clavinet. Crybaby or roger mayer custom one are cool.

Pages: [1]