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It's a mixed bag of stuff, different line-ups, different styles (though all jazz flavored). I don't play on it, it's a portfolio of my compositions played by other people.
> It's a mixed bag of stuff, different line-ups, different styles (though all > jazz flavored). I don't play on it, it's a portfolio of my compositions > played by other people.
> Fiona
Nice site. I will listen to some things tonight if the Internet muses are co-operative with my streaming. I do have one short comment and one question.
Comment: Eberhard Weber is one of the musicians that Miller talks about him through examples and references for the atonal modal music that I have been talking about for quite some time here. Since you have a professional history with his playing your music, you could do worse than to contact him and ask about any notation that is considered standard in his circles or how he would notate quartal in a mixed context tune.
Question: On your music page you have a quote "If music be the food of love, play on, give me excess of it." - Willy the Shake
The only "Willy the Shake" I know of is Lord Buckley, a comedian (that term hardly does him justice) popular around the middle of the 1900s. Is this one of his quotes? I don't remember it specifically, but it sounds like it could be his and he certainly was the most interesting jazz flavored performers that I can remember.
>> It's a mixed bag of stuff, different line-ups, different styles (though >> all >> jazz flavored). I don't play on it, it's a portfolio of my compositions >> played by other people.
>Nice site. I will listen to some things tonight if the Internet muses >are co-operative with my streaming. I do have one short comment and >one question.
>Comment: Eberhard Weber is one of the musicians that Miller talks >about him through examples and references for the atonal modal music >that I have been talking about for quite some time here. Since you >have a professional history with his playing your music,
I wish! But sorry, I think you misread, Gary Boyle, one of the musicians on the album used to play with Eberhard, I sadly, never had the pleasure of working with him. Perhaps I could contact Eberhard through Gary, but I know he is very ill and no longer performs after suffering a stroke in 2007, so it's not something I would consider doing.
>you could do >worse than to contact him and ask about any notation that is >considered standard in his circles or how he would notate quartal in a >mixed context tune. >Question: On your music page you have a quote "If music be the food of >love, play on, give me excess of it." - Willy the Shake
Willy the Shake = William Shakepeare. The quote comes from Twelfth Night, Act 1, Scene 1.
> >> It's a mixed bag of stuff, different line-ups, different styles (though > >> all > >> jazz flavored). I don't play on it, it's a portfolio of my compositions > >> played by other people.
> >Nice site. I will listen to some things tonight if the Internet muses > >are co-operative with my streaming. I do have one short comment and > >one question.
> >Comment: Eberhard Weber is one of the musicians that Miller talks > >about him through examples and references for the atonal modal music > >that I have been talking about for quite some time here. Since you > >have a professional history with his playing your music,
> I wish! But sorry, I think you misread, Gary Boyle, one of the musicians on > the album used to play with Eberhard, I sadly, never had the pleasure of > working with him. Perhaps I could contact Eberhard through Gary, but I know > he is very ill and no longer performs after suffering a stroke in 2007, so > it's not something I would consider doing.
> >you could do > >worse than to contact him and ask about any notation that is > >considered standard in his circles or how he would notate quartal in a > >mixed context tune. > >Question: On your music page you have a quote "If music be the food of > >love, play on, give me excess of it." - Willy the Shake
> Willy the Shake = William Shakepeare. The quote comes from Twelfth Night, > Act 1, Scene 1.
> Fiona
Very sorry to hear about Weber. I didn't know. I have enjoyed everything that I have ever heard by him.
Willy the Shake was the name Lord Buckley used in one of his routines. He is most famous for his monologue called "The Naz" but his rendition of "Friends, Romans and Countrymen..." is another one of his biggies. (there are a few of his routines on You Tube)
He told stories or rather retold stories using "Hip" language. He was a poet, philosopher and a jazz musician that used his voice as the instrument and instead of singing music, he told stories in the vernacular.
Sadly, he never was a huge commercial success, although he was very well known in his time by jazz musicians and seemed to be the inspiration of many comedians that followed. In the latter part of his life, he pretty much went off the deep end. His monologues on the Marquis de Sade ceases to be comic and is an indication of his deteriorating condition. As I understand it, he died of malnutrition in New York.
If I remember correcty, his "Willy the Shake" routine started "Hipsters, Flipsters and finger poppin daddies, knock me your lobes." Even if you never heard of him, thanks for bringing him back to mind.
At present, I am listening to the BBC as the streaming seems to keep me on line so that I don't have to "repair" my connection every 15 seconds or less. Before I turn in, I will try to switch to you site and listen to a few cuts until I start to loose connections.
I took a break and listened to your cuts. Very creative and very enjoyable. That is quite a variety of styles and lots of creative uses of orchestration. If you are not there yet, you are well on your way! It sounds like you have been very busy but having a lot of fun with your music.
>> >> It's a mixed bag of stuff, different line-ups, different styles >> >> (though all >> >> jazz flavored). I don't play on it, it's a portfolio of my >> >> compositions >> >> played by other people.
>> >Nice site. I will listen to some things tonight if the Internet muses >> >are co-operative with my streaming. I do have one short comment and >> >one question.
>> >Comment: Eberhard Weber is one of the musicians that Miller talks >> >about him through examples and references for the atonal modal music >> >that I have been talking about for quite some time here. Since you >> >have a professional history with his playing your music,
>> I wish! But sorry, I think you misread, Gary Boyle, one of the musicians >> on >> the album used to play with Eberhard, I sadly, never had the pleasure of >> working with him. Perhaps I could contact Eberhard through Gary, but I >> know >> he is very ill and no longer performs after suffering a stroke in 2007, >> so >> it's not something I would consider doing.
>> >you could do >> >worse than to contact him and ask about any notation that is >> >considered standard in his circles or how he would notate quartal in a >> >mixed context tune. >> >Question: On your music page you have a quote "If music be the food of >> >love, play on, give me excess of it." - Willy the Shake
>> Willy the Shake = William Shakepeare. The quote comes from Twelfth Night, >> Act 1, Scene 1.
>Very sorry to hear about Weber. I didn't know. I have enjoyed >everything that I have ever heard by him.
>Willy the Shake was the name Lord Buckley used in one of his routines. >He is most famous for his monologue called "The Naz" but his rendition >of "Friends, Romans and Countrymen..." is another one of his biggies. >(there are a few of his routines on You Tube)
>He told stories or rather retold stories using "Hip" language. He was >a poet, philosopher and a jazz musician [...]
>If I remember correcty, his "Willy the Shake" routine started >"Hipsters, Flipsters and finger poppin daddies, knock me your lobes."
OK, so when Buckley used Willy the Shake, he too was referring to William Shakespeare. "Friends, Romans, Countrymen, lend me your ears" is from Julius Caesar, Act 3, Scene 2.
My source for Willy the Shake for Shakespeare was Joni Mitchell's seminal album Don Juan's Reckless Daughter, and I've been using it since way back in 1978. In the track Talk to Me (a stunning duet with Jaco Pastorius) Joni used the lyric: "It still gets my feet up to dance Even though it's covered with the keyloids From 'the slings and arrows of outrageous romance' I stole that from Willy the Shake! You know - 'neither a borrower nor a lender be' Romeo, Romeo, talk to me!"
I always assumed it was her own invention, but Joni certainly knows her stuff when it comes to art, poetry and jazz, so no doubt she knew Buckley's work and borrowed Willy the Shake from him. So thanks for that, I'll find out what I can on Buckley, he sounds interesting.
>I took a break and listened to your cuts. Very creative and very >enjoyable. That is quite a variety of styles and lots of creative uses >of orchestration. If you are not there yet, you are well on your way! >It sounds like you have been very busy but having a lot of fun with >your music.
> >> >> It's a mixed bag of stuff, different line-ups, different styles > >> >> (though all > >> >> jazz flavored). I don't play on it, it's a portfolio of my > >> >> compositions > >> >> played by other people.
> >> >Nice site. I will listen to some things tonight if the Internet muses > >> >are co-operative with my streaming. I do have one short comment and > >> >one question.
> >> >Comment: Eberhard Weber is one of the musicians that Miller talks > >> >about him through examples and references for the atonal modal music > >> >that I have been talking about for quite some time here. Since you > >> >have a professional history with his playing your music,
> >> I wish! But sorry, I think you misread, Gary Boyle, one of the musicians > >> on > >> the album used to play with Eberhard, I sadly, never had the pleasure of > >> working with him. Perhaps I could contact Eberhard through Gary, but I > >> know > >> he is very ill and no longer performs after suffering a stroke in 2007, > >> so > >> it's not something I would consider doing.
> >> >you could do > >> >worse than to contact him and ask about any notation that is > >> >considered standard in his circles or how he would notate quartal in a > >> >mixed context tune. > >> >Question: On your music page you have a quote "If music be the food of > >> >love, play on, give me excess of it." - Willy the Shake
> >> Willy the Shake = William Shakepeare. The quote comes from Twelfth Night, > >> Act 1, Scene 1.
> >Very sorry to hear about Weber. I didn't know. I have enjoyed > >everything that I have ever heard by him.
> >Willy the Shake was the name Lord Buckley used in one of his routines. > >He is most famous for his monologue called "The Naz" but his rendition > >of "Friends, Romans and Countrymen..." is another one of his biggies. > >(there are a few of his routines on You Tube)
> >He told stories or rather retold stories using "Hip" language. He was > >a poet, philosopher and a jazz musician [...]
> >If I remember correcty, his "Willy the Shake" routine started > >"Hipsters, Flipsters and finger poppin daddies, knock me your lobes."
> OK, so when Buckley used Willy the Shake, he too was referring to William > Shakespeare. "Friends, Romans, Countrymen, lend me your ears" is from Julius > Caesar, Act 3, Scene 2.
Exactly. Basically he retold the story in the Jazz Jargon. The way he did it is what made him special.
> My source for Willy the Shake for Shakespeare was Joni Mitchell's seminal > album Don Juan's Reckless Daughter, and I've been using it since way back in > 1978. In the track Talk to Me (a stunning duet with Jaco Pastorius) Joni > used the lyric: > "It still gets my feet up to dance > Even though it's covered with the keyloids > From 'the slings and arrows of outrageous romance' > I stole that from Willy the Shake! > You know - 'neither a borrower nor a lender be' > Romeo, Romeo, talk to me!"
> I always assumed it was her own invention, but Joni certainly knows her > stuff when it comes to art, poetry and jazz, so no doubt she knew Buckley's > work and borrowed Willy the Shake from him. So thanks for that, I'll find > out what I can on Buckley, he sounds interesting.
I don't know if he was the first to use the phrase. All I know is that it predates '78. "The Naz" was of course the story of Jesus. I don't know much about his later works (the Marquis and what ever else) as I only had some outlaw recordings and one could tell that he was in a very bad way at that time. If you find out anything else about it, I would appreciate your sending me some links or what ever if you could. Feel free to respond to me directly if you like. Some may take offense at the of the slightly off topic nature of Lord Buckley.
> >I took a break and listened to your cuts. Very creative and very > >enjoyable. That is quite a variety of styles and lots of creative uses > >of orchestration. If you are not there yet, you are well on your way! > >It sounds like you have been very busy but having a lot of fun with > >your music.
> Glad you liked it, thanks for listening.
> Fiona
It was my pleasure. I hope to find time to look at some of your scores as well. BTW, I am sure that you appreciate your access to your group of musicians and the studio. These cuts are sooo much better than a midi demo! You are truly fortunate to have them to showcase your work.
"Fiona Abrahami" <fiona@NO_SPAM.intxtdoc.demon.co.uk> wrote: > "LJS" <ljsche...@gmail.com> wrote
> >I took a break and listened to your cuts. Very creative and very > >enjoyable. That is quite a variety of styles and lots of creative uses > >of orchestration. If you are not there yet, you are well on your way! > >It sounds like you have been very busy but having a lot of fun with > >your music.
> Glad you liked it, thanks for listening.
> It was my pleasure. I hope to find time to look at some of your scores > as well. BTW, I am sure that you appreciate your access to your group > of musicians and the studio. These cuts are sooo much better than a > midi demo! You are truly fortunate to have them to showcase your > work.
Of course I appreciate them, and I hope they appreciate the money I paid them too :-)
It wasn't a cheap project, and until I can recoup some of the outlay I am seriously out of pocket. Regardless, I'm proud of the "product" and I learned a lot from the process that will help me develop my skills further. It was particularly interesting to observe how others interpreted my music without my explicit direction. From the start I planned to be as hands off as possible and so I hired someone else to be musical director, this enabled me to step back hear my own music from a distance, still not quite like a non-musician would hear it, but the separation at least enabled me to approach these tunes I know so intimately with fresh ears. And forgetting I wrote them myself, I thought they sounded great!
Next time, should I be fortunate enough for there to be a next time, I plan to not even attend the recording sessions; I'll just boo the musicians, give the scores to the MD and wait to hear the rough mixes.
<fiona@NO_SPAM.intxtdoc.demon.co.uk> wrote: > "LJS" <ljsche...@gmail.com> wrote
> "Fiona Abrahami" <fiona@NO_SPAM.intxtdoc.demon.co.uk> wrote: > > "LJS" <ljsche...@gmail.com> wrote
> > >I took a break and listened to your cuts. Very creative and very > > >enjoyable. That is quite a variety of styles and lots of creative uses > > >of orchestration. If you are not there yet, you are well on your way! > > >It sounds like you have been very busy but having a lot of fun with > > >your music.
> > Glad you liked it, thanks for listening.
> > It was my pleasure. I hope to find time to look at some of your scores > > as well. BTW, I am sure that you appreciate your access to your group > > of musicians and the studio. These cuts are sooo much better than a > > midi demo! You are truly fortunate to have them to showcase your > > work.
> Of course I appreciate them, and I hope they appreciate the money I paid > them too :-)
:-)
> It wasn't a cheap project, and until I can recoup some of the outlay I am > seriously out of pocket. Regardless, I'm proud of the "product" and I > learned a lot from the process that will help me develop my skills further. > It was particularly interesting to observe how others interpreted my music > without my explicit direction. From the start I planned to be as hands off > as possible and so I hired someone else to be musical director, this enabled > me to step back hear my own music from a distance, still not quite like a > non-musician would hear it, but the separation at least enabled me to > approach these tunes I know so intimately with fresh ears. And forgetting I > wrote them myself, I thought they sounded great!
They certainly do. You should be proud.
> Next time, should I be fortunate enough for there to be a next time,
I hope that there will be a next time. It is unfortunate that this is not always dependent upon the quality of the work but rather dependent on a lot of non-musical factors. In the Olden days, there was the Church and royal patrons that allow talented and productive composers to practice their craft. Now it seems to be at the whim of the Super Giant recording companies that have the most to say about who gets exposure and not and their criteria seems to be more for merchandising than for art. The education system seems to be placing more emphasis on studies about the "music business" but unfortunately, it seems as though many of those that are better composers than business people seem to be lost in the cracks.
I hope that you can find a way to give your music the exposure that it deserves. Just as a thought, in addition to what ever you have already (and you are doing this already) is to think internet. You have advertised you CD here, but you might also consider using your PayPal for a Contribution button as well as some means of downloading the album and/or individual cuts. This might help to give you more exposure. I suspect that this is not news to you, but it seems worth mentioning.
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