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About allan_evett


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    Michigan City, IN

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  1. Great memories from hearing this song, and several from the Michael McDonald catalog. And back to the original topic. I've always dug GP's playing. But the time I saw him in person was definitely a "Holy Something!" moment: NAMM 2011's Korg Kronos unveiling, then the resulting Greg Phillinganes rendition of Happy Birthday. His chord substitutions had their own substitutions flown in for the occasion. And then I made another discovery, from visiting page one of this thread: Mark Stephens. Yeah... From what planet are these previously unknown - at least to me - players coming from? Time to get off the computer and go practice .
  2. I can well-relate to this, Dave. I do have to keep up on Hanon, scales and arpeggios, mostly due to the church accompanying gig I fell into four years ago - when the pandemic caused the loss of my MD gig. When I sit down to improvise, I run out of inspiration quickly; then it just becomes somewhat mindless meandering. I think it's a combination of too much technique focus/lack of fun and annoying side-effects of a temporarily-high meds dosage (i'm still in a being-monitored phase from last October's brain bleed incident - hopefully back closer to normal by the end of April, the 6-month point). Found some pieces I'd written years back, but never recorded. So I started recording one of those into Logic the other day. That's helped some. But like you, I still feel off when sitting down to improv. Thinking I need to stay put more - 'grounded' harmony and voicings, less constant motion. The attempts seem kind of frantic, at times?
  3. I'd check out the CK88 again. The action is a well-weighted 88, but my hands don't experience fatigue from it. Compared to our Kawai upright, it's a nice break - especially when dealing with some mild carpal tunnel symptoms, also finger tip tingles - courtesy of the current med I'm taking (which will hopefully be reduced over the next several months). The CK is a well-designed instrument, with many thoughtful features. The variety of pianos are highly playable, and it works wonderfully as a controller for RV 275, Synthogy Ivory and the premium NI pianos.
  4. Great to read this! I always liked the XV series of rack modules. I had an XV-5080 for close to twenty years, and gigged it live from 2001 - 2010. Sold it a couple a couple years back, mostly due to a lack of replacement parts for some damage that had occurred. The guy that bought it wanted my XV mostly for the expansion cards, and planned to 'part out' the rest of it. Such a fun and versatile piece of gear, though. I'd definitely consider acquiring a gently used XV-3080, though have a few other $$ priorities right now - like medical bill remnants from last October, then a much-needed replacement Mac laptop for the teaching work space (currently using a 2012 MBP that's rather 'messy'.). Would be fun to have a vintage multi-timbral module again though.
  5. Yes, Jeff is a fellow NW Indiana keyboardist. Last summer my wife and a friend of ours caught Keytar Jeff live, at Leroy's Hot Stuff - which is all but a rock institution in this area. Regrettably I was on another gig, but Jeff was in top form that night.
  6. Common sense is rare, apparently... Many people do take of their pets, and surroundings; but a few miscreants spoil it for others. It's been my understanding that hotels, short/long term rentals need to see certification for service animals to allow pets - when no-pet policies are in place. I guess too many are taking advantage. We find lodging that allows pets for free, or for a small fee. My avatar critter could definitely pass as a service animal (she loves everybody), but her 'brother' would definitely not
  7. Fun! Now what I want to see is: All 'Everybody Loves Raymond' intros transcribed.
  8. I'd be all over this if it was available as an AU/VST for non-Montage owners. I'm a former Montage/MODX user; and while my CK88 is fine for stage work, it'd be great to have access to the extensive sounds and editing features from AWM history - and beyond. I've experimented with various versions of Halion Sonic over the past decade or so - trying it on a couple different Macs, but it's been somewhat messy: lots of issues with Steinberg's USB drivers and eLicensing. Lots of Motif/Montage history there, but it's never really worked smoothly here.
  9. Thanks, dB! I just checked out their site. I'm looking to replace a slightly underpowered pair of small, budget monitors in my teaching studio. The LP-UNF pair look to be a perfect upgrade for the space.
  10. The overhead 'drone' view made me think of an old, Twilight Zone episode.
  11. For church masses on Saturday afternoon and Sunday morning: Steinway Model M grand. For gigging: Depending on the gig/rig size, either Yamaha CK88 or Nord Stage 4; sometimes both. And then depending on the song and/or mix of players: Yamaha CFX or S700 Preset, or Nord Imperial or Italian grand. I’ve created about a half dozen of so patches based on those tones - lots of EQ and FX variations.
  12. I bought this Yamaha CS-50 in mid-1979. Though I sold it in the late 1980s, it eventually found me again. This photo is from 2015, around the time it finally found a permanent home with a collector out in Colorado. I first saw a CS-50 in early 1979. A fellow keyboardist gave me a generous tour of his CS-50, and I was enamored with all the sounds - and the colorful front panel too! Other than playing a bandleader's Arp monosynth, my exposure to synths had been limited up to that point. Having access to 4-voice polyphony was a lot of fun, and I remember getting a lot of mileage from the ring modulator section; lots of 'special sauce' there.
  13. Big Roy Bittan fan here as well. Though your knowledge of his live playing with the E Street Band is much deeper than mine; my similar passion being the live piano work on Lyle Lovett and His Large Band tours, from 2004 til now. While his work with Bruce and Co. inspires me every time I hear recordings (live and studio), Roy's piano playing on Meatloaf's Bat Out of Hell 2 is riveting - especially, "I'd Do Anything For Love (But I Won't Do That)".
  14. I came into music with certain 'leanings' burned in. I remember that back in 4th grade - after a little over two years of lessons - I could improvise a bit in a flowing, romantic era style of playing. Nothing fancy, but it just seemed natural - like something I had done in a previous life, so to speak. Fast forward to college years: I created a somewhat convoluted path to finishing a degree that reflected a majority of hours in music (Thank you, Columbia College!). The idea of being a piano major (or even traditional music school major) scared the BeeGees out of me. Juries? Run like hell, and I did! I've ended up covering, and occasionally faking my way through a lot of styles over the past 45 years; and likely going into some blind alleys I had no business being in . Rock/Pop, Blues, R&B, folk/alternative acoustic are styles I've managed to assimilate, to a greater or lesser degree individually. And covering multi-keys parts has developed along with that. Reggae and world beat material I've somewhat manage to fake my way through, though I'd have to live within that world/groove to get a real clue... I do strongly connect with Moonglow's observation about being asked to cover all the recorded keys parts, live... I ran into that absurdity when playing with a couple of country bands: "Uh, could you cover the piano and B3 part?". Okay, that can work. "Then there is that solo violin on the bridge.". Okay, think I can grab that short part. "Oh, but there's that banjo riff that happens throughout, and also a cool steel guitar line between the 2nd verse and bridge, and that full string orchestra on the final chorus.". Let me work on growing third and fourth arms, and in the meantime you can buy a backing track. Jason, I relate well to you about being a straight ahead jazz player. I can reasonably play cocktail piano, and there have been years when I've covered bunches of 'wallpaper' gigs, but hardcore, angular jazz? Well... I've worked through some crazy charts and sort of survived, but there are a lot of jazz players for whom I'd quickly vacate the bench. During the pandemic I did several group and a couple private online lessons with Matt Rollings. His evaluations and guidance echoed much of what Peter Saltzman - a fellow Chicago-area piano/keys guy with whom I shared a dual-keys band gig - observed. I still need work on seeing 'blocks', vs. 'flowing' lines. Seeing advanced 'block' voicings (beyond basic shells) and moving them efficiently (especially chromatically) is my Achilles Heel in Jazz playing. And the last lesson material Matt left me with focused on bee-bop lines and chromatic approaches - another Achilles Heel. I just started checking out a YT video about advanced chord substitutions. Some fun sounding ideas there!
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