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ELP - Fanfare for the Common Man


IMMusicRulz
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I thought I would post this for all the ELP fans out there, including myself.

 

 

They look cold, but the organ playing of Keith Emerson is really hot sounding. If I am not mistaken, he is playing a Yamaha GX1. (Emerson actually owned 2, one of which he bought from Led Zeppelin keyboardist John Paul Jones.)

 

 

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This tune has been a mainstay in one of my bands for many years, and it’s a total blast. Basically play Fanfare and then it’s a jam in E. I copped the original Copland score for the “Fanfare” portion. From what I can discern, Keith was faithful to the original composition.

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"We don't stop playing because we grow old; we grow old because we stop playing."

- George Bernard Shaw

 

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Interestingly this is one of ELP's tracks that I never cared much for. There is no composition skills involved in this one as Moonglow has said, play the original as is, and jam in E. I can jam in E, but I could never write something like Tarkus or Trilogy, which is why those are the ones I love.

Life is subtractive.
Genres: Jazz, funk, pop, Christian worship, BebHop
Wishlist: 80s-ish (synth)pop, symph pop, prog rock, fusion, musical theatre
Gear: NS2 + JUNO-G. KingKORG. SP6 at church.

 

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Coincidentally I just watched the entire Montreal concert with the orchestra.  The band was on fire that night and both Pirates and Fanfare were jaw dropping.  It didn't hurt to have an orchestra behind you but that was a glorious noise coming out of 3 guys.  

9 Moog things, 3 Roland things, 2 Hammond things and a computer with stuff on it

 

 

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Earlier this month, I played trumpet with a wind ensemble performing Fanfare in Eastman Theater as part of Eastman’s centennial weekend.

 

I really wanted to hear the bass kick in  at the end! It’s like hearing the ending of “The Firebird” without Yes launching into “Siberian Khatru”. 😁

 

D55B7770-7D9C-4679-AFE4-1E8CEB586278.jpeg

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Big ELP fan here, but Fanfare never did anything for me. When Works came out, I couldn't believe the Hammond was gone, the Moog was gone. WTF? That was the ELP sound. I get that KE felt he had taken that style as far as he could and wanted to move on stylistically, but it was a disappointing end of an era for me.

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hmm… I tend to appreciate all that was done based on when it happened and the available tools.

 

1. Late 60’s organ and piano ruled with Keith taking things to the next level

2. Early 70’s - incredible organ and synth. Modular, mini, polymoog prototype, Keith provides significant contributions to the definition of “keyboards” (Tarkus, Trilogy, Brain Salad Surgery)

4. Late 70”s - Works, a shift and deployment of the GX-1. Listen to numerous live ELP concerts and appreciate the incredible talent and how Keith covers multiple orchestral parts on the GX-1 (yes, this includes Love Beach, I did have the black satin jacket)

5. Early 80”s - not sure anyone knew what was going on.

 

Not sure that if you did not grow up in this period that you can truly appreciate his impact. We now have nitwits with sequences and pattern loops that think they are musicians (DJ’s?). Poop to that…

Using: Roland RD-2000, Hydrasynth Deluxe, Mac Studio, Studio Display, Logic Pro, Arturia:V Collection 9/Cherry Audio:GX-80,Polymode,Quadra,Sines/MemoryMoon/G-Force:OB-E, Oddity3, SEM/VPS Avenger/Korg:MS20,Triton/Native Instruments:Komplete 14/Roland Cloud Pro/Spectrasonics:Keyscape,Omnisphere/uhe:Diva,Hive,Zebra2/UVIWorkstation

 

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I saw ELP on the Brain Salad Surgery tour, had never seen a keyboard player make 8,000 people break into a sweat before. They were on fire.

I saw ELP again, it was the tail end of the tour where they started out with a full orchestra and by the time they got to California they were a 3 piece again and seemed to be utterly defeated by the loss of the orchestra. They were still great but a dark cloud hung over them, it wasn't anything close to the first show I saw. 

 

I'm glad to have had both of those experiences, the 2 Yes concerts, UK, Jethro Tull, Kittyhawk, The Dixie Dregs and the Dregs as part of my concert experiences. 

I'm also glad I got to see Artur Rubenstein, Carlos Montoya and Jean Pierre Rampal in concert. 

 

It provided perspective and balance to seeing Taj Mahal, Cheap Trick, The Who, BB King and Ray Charles, just to name a few. 

It took a chunk of my life to get here and I am still not sure where "here" is.
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If you happen to be a Nord user, it just so happens that one of the patch creators (@WannitBBBad) has a pile of different sounds for Fanfare, all great in their own way.  Here's a link to some you can listen to.  I will be collecting his work and putting it to work for a project next season.  Makes it so much easier.

Life is too short to be playing bad music.

 

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What a beautiful one-off work. Of course, it would look very different if I had done it. Nothing filthy, but it would surely be disturbing to many. It'd make Elton John rear back in surprise.

 

I was already into Copland when ELP released "Fanfare," so I loved it from the outset. It was a bit like getting the musical joke when Zappa had a 12-tone string section sawing away in the background. Now, that squirty trumpet Keith employed is a preset in every non-modular synth in Oz. My synth history has many tentacles.

"Your Honor, according to witnesses,
    Miss Congeniality led the attack
     with a kick to the groin."
           ~ Dan Fielding

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In one of life’s most unusual moments I had the opportunity to meet Aaron Copeland. It was the early 80’s. Of course I had to ask if he was familiar with ELP’s versions of his music. He said he had heard their recordings and was flattered that such a popular group would choose to play his music. When I asked if he liked their renditions he just said that it wasn’t exactly what he had In mind. 

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