Legatoboy

'Tugg' Yes, Jack Hotop (Korg) has been posting on FB about Brett's passing, they were friends.... apparently he left quite the playing/writing/singing legacy and Jack reiterated that he was a great guy/friend: From Jacky's post on FB: "Brett was a singer, song writer, and sideman who played keys & guitar with Steppenwolf, Rick Springfield, David Lee Roth, Stevie Nicks, Lindsey Buckingham, Fleetwood Mac, John Fogerty and Billy Gibbons. ....." RS

My friend and I had gone to London on vacation, My buddy was in love with her, An Anglo-file type of guy and the heritage being Irish, English, Scotch himself - Bassplayer/writer.. a real R & R veteran..good musician. He was there trying to sell his own music in London also, we dropped off some CD's at Recording Companies. This was in the late 1980's and we hit the Marquee Club, all the sites, the museums...the Tower.. drank beer all day... the whole 9 yards... and one sloshed evening we drove into the foggy London suburban night over London Bridge to find Kate Bush's house..he knew the general neighborhood somehow...'he was in love'.. Once in her neighborhood we asked a group of teenagers hanging out in the street where she lived but they would not give up address, we were a bit drunk and laughing... probably thought we were there to rob her home of something - ugly Americans and all....Honestly, I don't know what he would have done if he found her house....This really was not a good idea, but it was fun ....He made me listen to 3 or 4 of her albums before we left on the trip...not totally my cup of tea but it is unique music and there was plenty of key work on the albums to keep me busy.... he explained some of the tunes to me and her writing and lyrics. She is very unique.... I love the 'Cloud Bursting' video she did with Donald Sutherland about Wilhelm Reich and his 'Orgone' energy... I was well versed by then in her music and ideas.. a lot of the older Jazz musicians/artists in NYC BTW, the 80+ year olds - were also into W. Reich. as a side note ( and a big one on Reich/Bush and also why KB may have devised the song/vid) Reich, beside the orgone energy also wrote - 'The Mass Psychology of Fascism' ...the De-Facto analysis for that stuff on how it starts because Reich left Germany to come to live in the US and wrote that (need some insight now... just read the chapter titles in that one) Anyway.... she has a good head on her shoulder Kate ... beside her amazing music/vocals/writing/style. I would have liked to have meet her, she seems like my kind of person ...but not to get arrested for it... anyway we laughed all the way back to London about it, crying and laughing about the whole night! Sorry about the book HammondDave ....

I sat right behind Kenny Barron once at 'Fat Tuesdays' in Manhattan when the club was still there .... little band-aids on about 6 finger tips... both pinkies had them for sure with his wide stretched open voicings played in both hands. and Barry Harris, again right behind him at the Village Vanguard about 12 years back.... I spoke with Barry for a bit about Bud Powell after the show. RIP BH! T.Lavitz who I had hung with and talked with at the old original 'Lone Star Cafe' with the BluesBusters.. when it was at the more Downtown location with the Lizard on top...that was a fun night. T and I talked for a long time over a drink .. also Paul Barrere was there night and he hung with us for a bit... (both gone - RIP) .... the old LoneStar was not a super large place...

The Union Gospel Tabernacle (Ryman) .... If you take the Ryman tour you really get it's history..... it was built by a Cumberland Steamboat Magnet who didn't want the port on the Cumberland river to get rid of the Bordello's and Bars.... good Steamboat business....prior to the auditorium being built, a small war had been going on...A local holy roller Preacher hounded him for years to clean up the port side of Nashville by the Cumberland river and the preacher gained more and more support to clean it up in the local country around the city in Tent Revivals. Ryman owned fleets of Steamboats with gambling/booze++, a very successful guy, most successful on the Cumberland. the red light Dist. was only a few blocks down from where the Ryman is, past the Honky-tonks. Ryman had enough dough to do all this, he Was the river. and until he lost his Daughter and Wife unexpectedly and young, which sort of freaked the poor guy out ... He wanted nothing to do with cleaning up the red light river port district... then after they passed, he became a holy roller himself and stopped fighting the now famous local preacher and befriended him and his followers after 10+ of waring over the topic. As he embraced religion he built the Ryman for the preacher to preach and have Religious services AND shows...Sunday Services +> Laurel and Hardy, Enrico Caruso and the Marx Bros. Country Music and European Orchestras and 1920's Jazz, wasn't just country in the old days before Opry and Services.... THEN it went Country Big Time (or bigger time Country) with Grand Ol Opry and with that woman who managed the Ryman for years who kept the place in business and afloat .. forgot her name ... she's was I believe responsible for bringing in the Grand Ol Opry to sort of save the place is how the story goes if I remember it correctly... My wife and I went on vacation to Nashville and Memphis a few years back.... we loved it. Here, tells briefly about the Tent revivals that were getting more and more folks to try and clean up Nashville..... And a bit of Captain Thomas Ryman story and a time line: https://ryman.com/history/ The 'New' Opry is in a Mall a few miles down the Interstate from Nashville now! (not far) Religion only transformed his life after his Wife and Daughter passed, so the event hear did not occur until they had passed and t: 'the war' was over ... figure 10-15 year I believe they said, maybe less, not sure... "Captain Thomas Ryman Attends A Tent Revival In Nashville May 10, 1885 – It was religious inspiration that took this building from a dream to reality. Specifically, it was the inspiration of a powerful, charismatic evangelist named Sam Jones. On May 10, 1885, a wealthy, rough-hewn Nashville riverboat captain named Thomas Ryman heard Jones speak at a tent revival three blocks from where Ryman Auditorium stands today. Jones’s words transformed Ryman’s life. Ryman became a man who looked to a higher God for his calling rather than looking to money. Ryman and Jones dreamed of creating a tabernacle as the religious gathering place for the city. Eventually, Nashvillians joined Ryman and Jones. This dream became their dreams, too. The people of the city donated both time and money to complete the Union Gospel Tabernacle, the name of the new building when it opened to the community in 1892."

I understand your beef and point, what you said about Jazz, .. I was as a young man a Benmont Tench type of player multi=keyboardist but have also spent the past 30+ years studying Jazz on and off in the background...mostly on, but I had mostly played out Blues and Blues rock (in bands more recently) and occasional solo jazz piano gigs mostly as I gained more jazz understanding/skills. Nice to be able to play your own gig... that does feel good, But listen to what I have to say ... I was lucky to study with a very good/ open jazz pianist 13 years my senior who was 15 years old in 1955... I am currently 67. So he would say to me very jazz oriented players chop type of stuff, stuff that you brought up in your 1st post as evidence of the advancement or non of well known Jazz players/artists present and way back, but he also taught Classical and he had opinions about that/them too in regard to good/ bad as far as 'advanced/chops etc etc ... But then he would also say things like this: - Now because he (Larry) was the same age as Jack Bruce and Ginger Baker who were also intense BeBop musicians 1st as my teacher was, he'd say.... " You know as a Jazz drummer, Ginger Baker was like a dime a dozen type of player, nothing special.... but it was in Rock were he truly expressed himself as an artist" ... so, with art/music like anything else the sign of intelligence is to be able to hold 2 ideas in the mind at the same time....you would figure he would reject Ginger totally in rock, but he didn't ..... he was always teaching people lessons Larry.... everyone... all the time! Jazz is a long study, was for me.... if you weren't headed in that trajectory there is a lot to restructure with some of it I found ....not to bad, but it runs on different fuel than Rock, Pop or Classical music.... forget the harmonic stuff, just 1st rhythmically He was so open man, I'm telling you..... cool as a cucumber cool in regard to 'art and expression'... forget about genre and style... Jazz is a wonderful artform and one can learn much from it, and that can be applied to almost all modern music (and classical actually) from studying it, I will say that, even if ones performance is not high in regard to playing it like mine was most for 24 years of it until the last 6 years of study. I did as much as I could with a day gig and playing the Blues out in a full time gig for more than half the study ...but in the end it really paid off big, not only for playing jazz ... but it took a long time... rhythmically was the key in the end for me, not harmonically as I imagined it would be.. and was a much better music study for me than classical (although about 20 % of it was classical the way he taught his improvising students) or being just steeped in pure Rock/Rock Blues/Blues by my wits.... but it is by far, not the only game in town... a you should remember that... performance of musical satisfaction comes in alot of colors... gauge value based on 'what things are' in the arts.... any of them, it's best to do that when gauging things I have found .....'for what it is' ... Jazz can get very glib and many audiences are not smart enough to know that ... spend time with anything.... gets easier! Like anything else.... no big deal! Larry's (teach) beef was: just don't call something 'devised'..... improvised .. that and classical peoples view of jazz musicians and jazz musical wisdom...as 'non-valid'! He liked BB King but not Eric Clapton.... hope some of this helps

My buddy emailed me this morning.... he is sort of a novice with gear... he didn't have one of the record switches on on the tracks he told,,, he missed that! Emergency over..... Thanks ElmerJFudd for the response..

I have neither the MODX8 nor Cubase but my friend is having some problems getting sound into Cubase from the MODX. This is what he sent me, if anyone has a clue on this?! My buddy's blurb from his email: "Watching a couple of videos, you have to do something on the keyboard along with setting up Cubase. I did everything the video said and still not working. I see the sound getting into Cubase but I can’t get it to record. I’m using Cubase on a Yamaha MODX8. See if you can get someone on Facebook/Keyboard Forums to respond, otherwise you will have to stop by when you get a chance." Anyone have any idea ... ? LB

I gigged and OBSX .... once upon a time!

and no one got busted either ....

I used one in a short lived '80's' band project that I was in for 2 years with old friends about 4 years ago. played about 8-10 gigs... not my most loved music decade when my old buddy suggested it I sort of 'moaned' when he suggested it but I wanted to spend some time with my old friend who I played wtih as a kid many moons ago.......I couldn't really deal with that genre of music for long and left the band actually to take care of my aging parents but I also needed a way out of the band... anyway it was a synth heavy project and I used a 12" Berhinger Sub with a MS KP-500... I found it did help with synth sounds...and I could hear my patches as I programmed them.... I usually program all custom patches for a gig like that....a lot more work actually... more than a conventual rock, blues or jazz gig in the programming regard, . don't think I would use the sub for a blues or jazz or lighter , less synth heavy rock gig... with the sub I could hear my synth programming work better, so ... and I played opposite side of the stage to the bass player ... the sub did cause some shifting of amplification to slightly off axis to the guitar and bass - so! https://www.behringer.com/product.html?modelCode=P0A9M

Clones for gigging - Foot Control ... easier to keep both hands on the boards and seamlessly speed switch. But it took time to get used to... having been a rail switch guy for most of my young life gigging real Hammonds out for a lot of years then. Hammond at home - Switch on the Rail.....(tried foot switch) ... the foot switch is a bit to far on the floor (w/o pedals) on my B3 and have to angle and lower the left side of my body that puts my LH and RH playing positions out of wack for my arms and my hands. I have become adept at both through the years.....I have a lot of instincts left for rail switching from all those rock gigs I played as a young man.. but I do enjoy being able to keep both hands on the organ and /or piano, EP synth while speed switching in a layers or all organ situation live.... helps me keep the arrangements feels together from a band or arrangement perspective also from my end as I am not lifting my LH as often! When speed switching on the rail I find I do have to try often and gauge 'the switch' also in regard to music 'seams' and legato with the band and my LH and set myself up slightly for the switch... so it adds a small additionally layer to consider live, and that has always been there even as a kid using a rail switch. If you gig a lot with the rail your LH switches do tend to get faster over time.... I speed switch live with my left foot with my clones BTW.

My OB Expander experience when I had mine was, in a word .... powerful. That machine kept me in endless amazement. I gigged an OB-SX prior! Good new!

WesG, I preferd it on the rail also, but with gears of gigging clones... I got used to the foot Switch... now back to the rail switch! Probably why he sold the Burn, yup . I actually interesed in a YC 73 to gig with... not for my home recording rig!

I got mine from Josh Paxton the forumite so I'm probably the 2nd or 3rd owner .. I needed a way to record w/o making to much noise with my B3 at night and in the day where it wouldn't be heard by neighbors and family. I upgraded my B3 w/ a Trek II OBL unit hooked it up and I love recording with it, I was using my 122 prior and still use that at times also. I also own and gig (or gigged ) a 145 and XK3. I had 1st heard the Burn unit up close on Tony Monaco's show during the beginning of Covid. and I was impressed with the sound of it.. I had seen him advertise it 10 years back or so and I was not interested in a Sim. then but I have stopped gigging and just record at home now.... I posted on KF I believe I was looking for one here...Josh had one for sale so I grabbed it... I'm still digging it but I have both the Rail Switch and the Foot Switch....using the unit itself to speed switch I found was too difficult with the pedal's other switch on top also and the encoder knob/lights... Slow to fast cam be amazing sometimes with it with, as someone has said, more of a room sound vibe to it especially at the speed up nexus point ( I have no real experience with the Vent BTW) ... I like the 'Clean Patch' also but have had good luck dirting it up and adding some tube drive with slightly dirty breakup edge with the B... the way I like it... I like it to break up alittle if I push the Vol over 65-70%... but not crunch as a general rule ... how I set up my real Leslies when I used them live or recording for the most part. It took me a while to hit on a Dirty setting I liked though.... I really had to bring the Gain and Overdrive all the way up.... further than I thought I would... I needed to spend some time experimenting w/the Trek II OBL line out signal and the Burn for a bit also before I hit on a Dirty setting I liked ...weather 122 or 147 Burn model .

I immediately point at them and then do that... gig, rehearsal, it don't matter... If I'm home and make mistake I do the same thing to myself only I point to myself and talk to myself in the 3rh person... No, usually something gets mentioned on break about how 'we', or 'the person' will have to go over the part/music at rehearsal again before the next gig .... we all know that story! Sometimes if it's a total embarrassment that causes a Clunker for the whole band (yes it has happened)... I hide from the audience and won't look at them (kidding).... it's music... in an of itself it's harmless, it's not air traffic control, we all try not to make mistakes ... what was it, one finger against the arm was a $30 fine in James Brown's band for a 'perceived clunker'..... 2 touches of a finger on the arm - $60 bucks.... etc..funny thing is... often the player wasn't making a mistake but James heard it as one,....more $ for the big boy at the end of the night.

He jumps real good... I will have to work that in somehow..

So Sad, I was lucky to see the 'Novum' tour 2 years back ... Gary and the band sounded very good ... RIP!

https://www.youtube.com/watch?v=YGyFxn_A5iA I watch Julian Bradley sometimes, I've learned a few things from him... this is an intro... but he has a lot of more advanced vids also on YT... He explains things theoretical, very clearly and succinctly I have found .... Advanced players should check out his 'Pentatonic Chord' study .... apparently 'Pentatonic' is not what many of us thought it was, guitarists also! That one was particularly eye-opening ....

The point about Tech's availability Adan brought up is real, especially for Console models (A/B/C etc).... especially for a 1st time Hammond owner..it does take time to learn the ins/outs of what has to be taken care of regularly and what to be careful of and keep an eye on... But you may want to start looking for a M or L series Spinet as a starter Hammond and get your feet wet that way, that was my progression before owning my CV and then B3 and I would bet a lot of other folks and both those models can be bought in the $100 to $400 (USD) dollar range in many locals in the USA in good workable condition, sometimes they are 'free' just to be taken away.... still I would read up on the main maintenance points even for those models..(oiling routines, general technical overviews and design etc..) to learn the basics of care for the instruments or just talk to other players/owners .. Leslies, also... you don't have to be an electrical tech to know what to keep and eye on and be aware of for any of the models...as a player.

If the interval is hard to reach I was taught to roll them - roll em' easy to take a quote... slow and easy - on practice regardless to the type of music. You can hurt your hands, I don;t know if anyone has mentioned that... you do still have to take care of them regardless to any music's demands or your own.. You do not have to have huge hands to be expressive on piano and most important is a person's individual finger joint flexibility ... which is so much more important in general than making a wide reach ....90%+ of piano music is in that realm I would have to say ....at least that I have played... Chopin being an exception....I've had to roll a few things and I have wide hands...

that low profile 80's to 90's phase has sort of passed with that antiseptic, no cable pristine look I think . Nice to be neat and look 'perfect', better to be happy and looser.. do we want to work on errant cords.... or errant 'chords' ..

Al I don't really gig out anymore and it's been a while, many reasons but taking care of elderly parents really put the lid on it for me for Fri. and Sat. nights. My folks were and are in the mid to upper 90's and lived in Queens so there was and still is a commute involved in that. That being said it's not that I really don't want to gig but the late nights are really a turn off at this age... also the music and finding the right musicians for me to work with now... also I still work a day gig (ending soon hopefully w retirement). After almost 30 years of music study and gigging consecutively and accumulating a hell of a lot of chops I never thought I might have at this age and working from home (day gig) and working on my own music has really helped me find more of my musical self. But I was lucky to have Larry Bluth as a teacher rest his wise old musical soul, he pass just after COVID last year and left me to my own devices.. Larry really finished polishing off his last Jazz and Classical students (8 of us) before he passed away teaching from his home on LI instead of the city (NYC)... and I was glad I stayed with him till the end of the line. He was a blessing for all who studied with him. And now I find myself in a better place and am more happy to work alone on my own projects... gigging at times looking at FB posts of gig posts and pictures and stories seems almost infantile on certain levels now. But gigging as we all know can also be a wonderful/rewarding experience in an ensemble. I think each phase of our musical journeys has it's own place and time. For me now, it's to work alone at home...and see what shakes out after Larry's work, COVID and retirement... I was left with a lot to consider from Larry.. Playing for me is still fun, even more on a personal level now having put a fair amount of time into my studies... but like you, question constant steady gigging (but not playing). I often wonder what life would be like if I had to make a living out of gigging/teaching.... which I did for about 2 1/2 years during/after the 2001 recession... which was filled with more fun and worry than I think I have ever had in any other phase of life ..

RIP Barry... I talked to him at the Village Vanguard about 11 years back... approachable and energetic, good guy! My friend went to his last live show 2-3 weeks back at the Flushing Town Hall, I was going to go.. He opened for Kenny Barron and the Jazz Allstars there, Barry was not on the original bill... opted not to go for family reasons. Now he gets to hang with Bud and Monk ... he's lovin that!

My friend who buys and sells Leslie's collects 31 H's.... the market is small for collectors he said but he told me fairly recently he sold one of his! Field Coil Woofer in the originals to electrify the magnet ... early 1940's tech! 6LSS's power tubes in there go to crunch quickly.... quicker than 6550's ... Nice to see, nice unit - good luck!