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A killer lesser known Brian Auger tune


Jazzmammal

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After messing around with some of the inane Facebook threads and other stuff I decided to bring it back to some real music done by a real keyboardist.

 

I've been an Auger fan for years but somehow missed this album cut I found on YT. Bumbin' on Sunset. His style, the mood and his solo in the middle are just great, his touch and phrasing are first rate. And the sound he gets out of his Hammond. Amazing. I've never heard anyone get a sound like this. I rank this as one of his best recordings ever.

 

 

Bob

Hammond SK1, Mojo 61, Kurzweil PC3, Korg Pa3x, Roland FA06, Band in a Box, Real Band, Studio One, too much stuff...
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Fantastic tune! I always have the Oblivion Express' first 12 albums on my MP3 player in my car. I never seem to get tired of listening to their stuff. (But especially their first bunch leading up to those 2 live records.)

 

I am grateful for you bringing this to other listeners attention, I hope more folks stop and listen to Brian. I'm embarrassed to say I only discovered him about 4 years ago.

 

Both this version and the studio version have such an instant mood to them, You can't help but be sucked into the song. I should really listen to Wes Montgomery's version some time!? Fantastic use of the echo too, I agree.

 

 

Electro 5, NI Kontrol S61/49, MX49, PC3, Rev2, Prologue, Pro3, Juno-DS, Mopho Keys, SE02, drums, tons of synth software, guitars, amps, and pedals...help me!!

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Brian Auger kills !

I liked Oblivion Express from the very beginning, still have some b/w live pics I made in 1973 when I visited a Oblivion Express gig.

Oct 01 will be the next occasion, going to see a Oblivian Express type line up incl. guitar again and together w/ Alex Ligertwood as the original shouter.

Can´t wait !

 

A.C.

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Hearing the Live Oblivion albums was like a religious experience for me. I wore them out and stole as many licks as I could muster.

 

He uses vibrato for effect like the rest of the world uses a leslie.

 

Ligertwood kills too. My only nit would be the dated wah wah guitar.

 

Moe

---

"I keep wanting to like it's sound, but every demo seems to demonstrate that it has the earth-shaking punch and peerless sonics of the Roland Gaia. " - Tusker

http://www.hotrodmotm.com

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THe tune is a Wes Montgomery song, "Bumpin' On Sunset". And I agree, a great version from Brian. Not that Wes is bad, either...

 

[video:youtube]

 

I too love the blue and red Whiskey A Go Go recordings. Funny story... Jack Hotop and I were helping Brian out to get Rhodes sounds for his Korg M3. After Jack dialed in some basic sounds, I asked Brian if we should do one with the echo... always one of my favorites of his sounds. He didn't want to do it!! He said he was just wishing he had some reverb back then, and used the delay as a "poor substitute". I tried and tried but he wouldn't have it.

 

:crazy:

 

Listen to this tune from the album:

 

[video:youtube]

 

It's a sound I absolutely love! Oh well...

 

Jerry

 

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Wow! So you're saying Mr. Auger was using the delay as a makeshift substitute for reverb? This is mind-blowing stuff. I always thought it was so ingenious how he would pull up that echo on his keyboards...

 

That's one note for the jazz history books. (You know, the kind of stuff like Yardbird's great tone was actually a plastic saxophone...). At any rate, it has become a part of my playing vocabulary.

 

I have another recording where Brian Auger acknowledges Jack Hotop in the audience regarding his stage piano. Curious if you were you there as well? Very interesting addition to this post.

Electro 5, NI Kontrol S61/49, MX49, PC3, Rev2, Prologue, Pro3, Juno-DS, Mopho Keys, SE02, drums, tons of synth software, guitars, amps, and pedals...help me!!

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I have another recording where Brian Auger acknowledges Jack Hotop in the audience regarding his stage piano. Curious if you were you there as well? Very interesting addition to this post.

 

That's a Live At The Baked Potato show. I wish I was there, but alas, no. Jack was in LA creating sounds for Herbie Hancock when he first started using the Korg OASYS. Jack and Herbie went to the show, which was Brian's birthday as I recall.

 

Regards,

 

Jerry

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The title to this thread is kind of ironic, because there tend to be two kinds of people: 1) those who know Auger and have devoured every recording he's ever made, and 2) those who don't Auger.

 

I am, of course, in the first group. I missed him when he came to town recently with Ligertwood. Still kicking myself for that. I've seen him a few times, but I have about a dozen stories of missing Auger shows for both stupid and not so stupid reasons. I won't bore you with any of them!

Gigging: Crumar Mojo 61, Hammond SKPro

Home: Vintage Vibe 64

 

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I just saw that video yesterday! Search YT you'll find it. Brian talks about how great it was for Herbie to show up for his birthday and the camera pans to the back of the room and there he smiling and waving.

 

He hated the delay and really wanted reverb?? Wow, that's part of his signature sound on that album. Just goes to show you how much influence great players have on the rest of us. Even their equipment setups that they didn't like become legend and we go crazy trying to get "that sound".

 

Very cool tidbit.

 

Bob

Hammond SK1, Mojo 61, Kurzweil PC3, Korg Pa3x, Roland FA06, Band in a Box, Real Band, Studio One, too much stuff...
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THe tune is a Wes Montgomery song, "Bumpin' On Sunset". And I agree, a great version from Brian. Not that Wes is bad, either...

 

[video:youtube]

 

I too love the blue and red Whiskey A Go Go recordings. Funny story... Jack Hotop and I were helping Brian out to get Rhodes sounds for his Korg M3. After Jack dialed in some basic sounds, I asked Brian if we should do one with the echo... always one of my favorites of his sounds. He didn't want to do it!! He said he was just wishing he had some reverb back then, and used the delay as a "poor substitute". I tried and tried but he wouldn't have it.

 

:crazy:

 

Listen to this tune from the album:

 

 

[video:youtube]

 

It's a sound I absolutely love! Oh well...

 

Jerry

 

I always liked this version of this tune too. Brian used to stack his Rhodes on top of the B3. It makes me wonder if he ever had a sustain pedal because it was that rod underneath the Rhodes. It doesn't sound like there's any pedaling there but the echo would kind of mask that.

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Brian used to stack his Rhodes on top of the B3. It makes me wonder if he ever had a sustain pedal because it was that rod underneath the Rhodes. It doesn't sound like there's any pedaling there but the echo would kind of mask that.

 

I´ve seen it live early 70s, Fender Rhodes stacked on top of B3, no sustain pedal, the "delay" was a early "all tube" Binson Echorec (uses magnetic disc instead of tape), then all going into a Davoli tubeamp head w/ Davoli 4x12" cab.

I still have the pics from that gig.

 

I had my 1st fender Rhodes mk I 73 Stage at that time too and added a later Binson Echorec model, still "all tubes" but different/more record/playback head combinations.

The Binson Echorecs distorted and degraded the sound like hell because these were hard to maintain.

Keeping the heads in a correct distance to the magnetic disc when transporting the unit was almost impossible and cleaning the disc was necessary often too because heads got contact while it was spinning which in addition slowly damaged the surface of the disc.

 

With the background what you get for that machine used and in working condition today, I was an idiot when I sold it for cheap,- but the daily usage of that thing drove me nuts too.

 

I think I had a similar sound with my Soundcity 120 (pre Hiwatt) amphead and the Marshall 4x12" cab but later was much happier w/ the Fender Dual Showman Reverb amp and the Ampeg V4 cabs using the spring reverb of the amp.

Later I walked thru different delay solutions, Echoplex, Korg & Roland tape units, then Ibanez and Yamaha analog delay lines and I´ve found nothing really satisfying.

My prefered delay unit is still the Yamaha D1500 digital modulation delay which I kept until today.

 

A.C.

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I've still got a Sound City 120. Not many amps around with 6xEL34s now.

 

Yes, very rare amp and build like a tank.

I liked it for organ.

You get much money for it today and I sold mine for a grand already mid 70s.

It still exists in my hometown and works since it went thru several bassist´s and guitarist´s hands.

 

A.C.

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I´m just back from one of the best Brian Auger concerts I´ve seen since 1973,- and I have seen many if not all here in town.

 

I expected to see ´em w/ Les King on bass and an additional guitar player but to my surprise they came w/ the bassplayer Travis Carlton and this guy grooves !

B.t.w., he´s the son of Larry Carlton.

Because there was no dedicated guitar player in the lineup, Alex Ligertwood played rhythm guitar in many tunes and he did it very well.

It also prevented him playing too much cowbell ! :D

His voice, climbing up to the highest notes like in the past, was a highlight and Oblivion Express really benefits from the original voice.

He was improvising a lot too and not just only singing his parts right.

Lots of spontaneity on stage w/ that lineup !

Karma Auger on drums together w/ Travis Carlton on bass worked very well and Brian himself was brilliant on his excellent sounding Organ Planet Hammond chop w/ the KORG M3 on top.

 

And yes, they also played "Bumpin on Sunset" which had a very special and intimate mood. The tension of Brians solo in that tune was awesome.

 

Excellent performance, excellent sound in the club.

 

A.C.

 

 

 

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