Jazz+

It never went away in K-pop and J-pop.

I think that's from my old study of Jao Gilberto's version and where he switches his pattern to playing the upbeats on his guitar like count "1 + 2 + + + + + etc "

OT: reharmonization of "The Girl From Ipanema"

I appreciate your initial post, dazzjazz. I wasn't trying to school you with my post, but rather share some general information for members who may not be especially familiar with Barry Harris's teachings. Off-topic: By the way, on 'The Girl From Ipanema,' I sometimes like to play D-11 in bars 3 and 4 instead of G7. It gives a different feeling on solo piano. Playing Eb-7 instead of Gb Maj7 at the top of the bridge is excellent, IMO.

I agree with "dazzjazz." I've spent 40 years teaching and studying Barry Harris's harmonic principles and lesser-known melodic principles for improvisation. Barry Harris's "truth" refers to his fundamental principle that most chords can be understood as derived from either a major 6th or minor 6th chord. He believed that 6th chords, along with their related diminished chords, form the foundation of most harmonic structures in jazz. Harris also extended this thinking to various dominant scales, such as the Mixolydian Dominant scale. Notably, Harris hated the term "bebop scale"; instead, he spoke about adding various half steps to different scales. This approach was also reflected in his lesser-known theories on line building (improvising melodies). By understanding this "truth," musicians can simplify complex chord progressions.

Thanks mrk7421 I just tried the 1973 C-3 model, I'll use it. It has great clarity and balance. My other settings are: Soloing drawbars 858000000, comping 707000000 (Perc. Off), Bass split 848000000 C2 (Level reduced from 64 to 32) Percussion (Level reduced from 64 to 32) 'Slow' adds more clarity, '3rd' Off. Cabinet Off, Rotary Off, Drive at 10:00 a.m., EQ at 12:00 Noon, Reverb at 10:30, Click at 12:00 Fender bass amp

I agree with dazzjazz. The B♭ diminished chord in "Wave" can be connected to the Barry Harris 6th diminished scale concept. Barry Harris's harmonic system involves using diminished chords as passing chords or to add harmonic richness. In the Barry Harris method, the 6th diminished scale is essentially a major scale with a diminished 7th chord added between each chord tone and its 6th. This approach allows diminished chords, like the B♭ diminished, to function as a passing chord that connects the underlying chords more smoothly. In "Wave," the B♭ diminished chord can be seen as part of this concept, acting as a bridge between the surrounding chords, enhancing the harmonic flow.

Warning, a controversial opinion: I turn off the Mojo Cabinet and Stop the Rotary. Like Brian Auger, I am not a fan of the Leslie sound. I also use the cleaner C2 Chorus and turn down the Percussion and the Chorus levels to 32 instead of the default 64. I prefer this milder level a lot. I use the 2nd for the Percussion, also like Brian Auger. I get a great “Sermon” tone with a little bit of tube over drive. It works very well for jazz. Clean, clear, and full bodied. I get seasick with a rotor and with full strength on C3 and 3rd. I play 88800000. I also use the oldest model the 1956 B3. I am finally getting the type of organ tone that helps me psychologically when I’m soloing. It sounds noble. Was it Don Patterson who also played such a clean tone? It’s taken me 5 years to arrive at this ideal personalized sound. I stopped playing my Mojo when the Chorus and Percussion were at level 64, I hated those levels. And that Leslie swirl… no thanks.

I agree the action is right away very playable. I can't seem to manage as well on the other brand's actions.

What's the setting for that particular tone?

The Kawai ES120 is the finest digital piano in it's class (under $1000)

No, it could not be done with a splitter on the Casio CT-S1 or 76. As soon as you engage the Headphones Out the internal speakers are defeated.

Onboard stereo speakers offer the solo pianist a centered sweet spot in the stereo field. In contrast, sound from an external amp can be off-axis, producing a strange, scooped, and out-of-phase quality. I don't enjoy playing with such an out-of-phase sound. The size of the output jacks (1/4", RCA, stereo mini plug, etc) does not affect this issue. I'd replace my Casio CT-S1 with a CT-S1-76 tomorrow if I could keep its stereo speakers on when using a little sidekick amp for solo gigs. A "sidekick amp" typically refers to a small, portable amplifier used to supplement the main sound system or provide additional amplification for a solo performer. It’s often used for gigs where a full PA system isn't available or necessary. The term suggests a secondary, supportive role rather than the primary amplification source.

How much louder and better sounding are the internal speakers in the Casio CT-S1-76 than the CT-S1 ? I have a CT-S1 and was told the difference is not a lot.

You should go play them in the store. I think that is the only to know which you want. I use my CT-S1 for easy portability with a little stereo side amp when I don't want to carry my ES120 with a side amp. And as I always recommend, set the CT-S1 Touch to Heavy.

Piano: Kawai MP11SE

I asked ChatGPT the following question: Do you agree that in the chord progression ||: Ebmaj7 | G-7 D-7 | Fmi7 | Bb7 sus :|| that the Dmi7 acts like a momentary harmonic bridge, a bit of a surprise chord. The Dmi7 sounds unexpected and interesting. I think it works because it's smooth. I think it is smooth because it has two common tones with Gmi7 and also two common tones with Fmi7. ChatGPT answered "Yes, I completely agree. The Dm7 chord acts as a momentary harmonic bridge and introduces an interesting and unexpected element to the progression. Here's a detailed breakdown of why it works so well: Harmonic Bridge: Transition: The Dm7 chord creates a smooth transition between the Gm7 and Fm7 chords. While it is not diatonic to Eb major, it effectively connects these chords, making the progression more engaging. Common Tones: With Gm7: Gm7: G, Bb, D, F Dm7: D, F, A, C Common tones: D, F With Fm7: Dm7: D, F, A, C Fm7: F, Ab, C, Eb Common tones: F, C Smooth Voice Leading: Voice Leading:Gm7 to Dm7: G (Gm7) to A (Dm7) - stepwise motion Bb (Gm7) to C (Dm7) - stepwise motion D (common tone) F (common tone) Dm7 to Fm7: D (Dm7) to Eb (Fm7) - stepwise motion F (common tone) A (Dm7) to Ab (Fm7) - chromatic motion C (common tone) Element of Surprise: Unexpected but Effective: The Dm7 chord is not what one might typically expect in the key of Eb major, making it an interesting and surprising choice. This unexpected element grabs the listener's attention and adds harmonic richness to the progression. Summary: The Dm7 chord effectively acts as a harmonic bridge, providing a smooth and interesting transition between Gm7 and Fm7. The common tones between Dm7 and both Gm7 and Fm7 ensure smooth voice leading. The unexpected nature of Dm7 adds an element of surprise and interest to the progression, enhancing its overall harmonic texture. Overall, the use of Dm7 in this progression is a creative choice that enriches the harmonic landscape and maintains smooth voice leading through its common tones.

Indeed as Cybergene said. And in jazz theory terminology: Upper Structure Triad bVI (F triad) moves to Upper Structure Triad bV (Eb triad) over the A7 Dominant chord structure below. It's a typical jazz piano movement, one upper structure to another over a dominant chord.

I think you might be conflating headphone outs with line outs. PX-S has 2 headphone and 2x 1/4-inch outputs. The CT-S1 has a single stereo output

Those 6.5-watt speakers sound good, too bad they go away when you plug into a little mono support amp for a solo piano gig. Otherwise, I would buy one.

Ivory American D piano Scarbee Rhodes ePiano

These would benefit from a speakers stays on option when using the 1/8” Output. I love my CT-S1. It has a good touch response and action when I set it to Heavy Touch. The Acoustic Piano and Epiano are good.

CNN’s “The Fourth in America” will feature musical performances from Bebe Rexha, The Kid LAROI, The Killers, The Goo Goo Dolls, Kane Brown, T-Pain, Bleachers, Keith Urban, Ashanti, REO Speedwagon, Chris Young, Yellowcard, Ben Platt, Boys Like Girls and En Vogue. The special will also include an ensemble performance by The United States Air Force Band. _____________________________________ I just tuned in and watched Kid Laroi and Charly Carpy do "The Stay." I thought Charlie was cuter. Now it's Ashanti, and she's putting me to sleep. The melody, lyrics, and harmony are not much. Seeing the fans get so into it is more interesting. Now it's "Boys Like Girls" a rock band...so so Now... Gavin DeGraw's singing and playing a KORG DIGITAL piano with the US Army Band on "I Don't Want to Be." This I like, good energy all around. It has catch melodies and good harmonies. The drummer has a good energy. And there are real horns! This is like a breath of fresh air compared to the previous acts, IMO.

Monty Alexander is my favorite pianist of all time. The "Montereux Alexander" concert audio recording has been remastered for CD, and it is indeed better than what was on the film and vinyl, but the original recording always lacked really great audio quality to begin with. I remember years ago hearing Monty complain about that point when I spoke with him at the old Yoshi's jazz club on Claremont Ave., by the way, which was perhaps the greatest jazz club ever.