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David R

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About David R

  • Birthday 11/30/1999

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  • homepage
    http://www.ryshpanmusic.com
  • occupation
    Pianist/composer/DJ/radio host/journalist
  • hobbies
    Music, reading, philosophy, tennis
  • Location
    Montreal, QC

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  1. I really like Wil Blades’ Tutorial Tuesdays on Instagram, and I believe he has a Patreon with more in-depth videos and lessons. I would highly recommend finding a B3 player in your area and having an in-person lesson if possible, just to supplement whatever other information you get online. It’s a physical instrument and watching someone play it in real-time meatspace is invaluable.
  2. I use Stage Plot Pro for all my bands. Worth the 40 bucks.
  3. Loved this interview. I’ve been a fan of Robert’s since the Greyboy Allstars, I didn’t know he was on the Roger Waters gig!
  4. a few of the things you posted in your OP (flat 9, major triad a whole step up, enclosures) I don’t really consider “outside.” They’re part of extended harmony. I think we do get used to all kinds of sounds as they become part of our vocabulary. Stravinsky doesn’t sound nearly as radical with ears that have been exposed to Ligeti, Elliott Carter & Thomas Adès. Feeling certain West African rhythms in 4 instead of 3, now I can’t flip my brain to hear it the way I initially did.
  5. For me, it’s more of a melodic concept than a harmonic concept. By which I mean, I’m either thinking motivic development or thinking about the note I want to resolve to and all the different ways to get there. I’ve also gotten mileage out of checking out 20th century composers (Samuel Barber, Charles Ives, Bela Bartok, Alban Berg) and trying to adapt some of their harmonic language into improvisational situations. Paul Bley’s legendary solo on “All The Things You Are” (Sonny Meets Hawk) is a good place to start as well, as is Lennie Tristano’s “Line Up” and Chick Corea’s “Matrix.” Take a tune you know really well, and for an entire A section or blues chorus, use one single idea. From Vijay Iyer: take a tune you know really well and improvise only using two intervals that don’t invert to each other (eg minor 3rd & perfect 4th)
  6. Also running a Key Largo over USB (with the Apple USB A-C dongle) on a MacBook M1 and i have had no issues. Maybe increase your buffer size compared to your other interfaces?
  7. When lockdown hit in March 2020, I threw myself into various things that I deeply love that got lost in the shuffle of constantly gigging & working. I went back to bebop/hard bop/straightahead (Bird, Hank Mobley, Bud Powell) and dusted off some of the Bach Inventions. Another thing I would do is tune into a live DJ broadcast on Twitch or on radio, and try and play along with the songs as quickly as possible. When I get stuck in ruts like that, I will dive into music I know in passing or barely at all. Something totally outside my comfort zone that might inspire me in a way I can’t imagine.
  8. Bass, Drum Machine, Keyboards, Percussion, Synthesizer, Composer, Lyricist, Engineer, Producer, Vocal Producer: Freddy Wexler Composer, Lyricist: Arthur Lafrentz Bacon Composer, Lyricist: Wayne Hector Associated Performer, Piano, Strings: Marco Parisi Associated Performer: David Campbell Bass, Guitar, Engineer: Leroy Clampitt Programmer, Engineer: Jack Parisi Drums: Randy Cooke Violin: Benjamin Jacobson Violin: Tereza Stanislav Viola: Luke Maurer Cello: Vanessa Freebairn-Smith Co- Producer: PARISI Unknown, Engineer: Emile Haynie Engineer: Dan Glashauser Engineer: Cian Riordan Engineer: Kyle Mann Engineer: Travis Warner Engineer: Justin Gariano Mixing Engineer: Tom Elmhirst Mastering Engineer: Randy Merrill
  9. The vocals in the first verse, before they get buried in the mix, remind me of Tumbleweed Connection-era Elton. It’s nice to hear Billy singing honestly, and not doing one of his impressions. I went poking around for the credits. Produced by Freddy Wexler (Ariana Grande, Bieber), and a total of four writers. I doubt Billy really needed the assist but if working with younger writers/producers is giving him the inspiration he lacked alone, good for everyone. My less generous instinct is that it’s a calculated move by Columbia Records, either to get their writers some more royalty points or to boost the algorithmic relevance by having younger artists associated with the track. Anyway, it’s nice to have new music from Billy, though it doesn’t affect his catalogue that much for better or worse. I’m curious if there’s more to come or if this was a one-off.
  10. Just echoing the love for the combination of Wurly & Princeton Reverb. I did a couple of sessions in 2019 with that setup - one was into a stock silver-panel Princeton, and the other was passing through a Roland Space Echo (no delay, just the preamp) into (I believe) the ‘65 British Green edition with a 12” Celestion greenback. A Princeton Reverb of my very own is on my to acquire list.
  11. Also waiting for the account confirmation email. I use the Logic B3 primarily; the rebuilt Arturia B3v2 is alright as well, but for this price I’m looking forward to another solid option in the rotation.
  12. Nord Electro 5D - usually the Grand Lady D. Native Instruments’ Grandeur is my go-to software piano if I’m using a Mainstage-only setup.
  13. I got a lot out of Bill Dobbins’ The Contemporary Jazz Pianist Vol. 4. It’s 24 etudes based on “All of Me” in the style of 24 different pianists. They’re great pieces to learn to really get inside the heads of the pianists in question. The Oscar Peterson variation has material straight from “Night Train” and the Keith Jarrett variation could be another movement from The Köln Concert.
  14. Just upgraded to Kontakt 7, and bought Boz Digital Labs’ new New York L pianos. I might get either the Korg Collection or the Cherry Audio synth stack but those are less imperative.
  15. My 2 cents: for whatever reason, the semi-live bands with really obvious tracks bother me more than a full on DJ & vocalist or soloist & tracks set up. Seeing some of the corporate cover bands on stage as a guitar power trio when keyboards & horns are everywhere sonically is just… strange to me. For the time you’re investing into tracks you could hire one keyboard player just to make the image more convincing. 🤷🏻‍♂️ Years ago I saw Angelique Kidjo and she had all her backing vocals on tracks. That seems really odd to me. Her band is stacked with amazing players, and I would imagine it handcuffs them in terms of being able to really play. I didn’t see this concert but at Aretha Franklin’s final performance in Montreal (jazz fest, place des arts no less), she also had her backing vocals on tracks. Her engineer or playback person cued up the wrong BVs for the song and it was a train wreck. Aretha left the stage and threw her wig onto the piano as she left. I saw another artist whose tracks I really enjoy. It was just her and her DJ; the DJ was having technical issues and the artist had no charisma or skill to do something a cappella to hold the crowd. One of the most disappointing shows I’ve ever seen.
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