In 2019, I started a big push to write songs and I did pretty well with it for a while. I had a lot of ideas saved up and I just kept ‘working with what’s in front of me,’ a concept that I employ sometimes to keep the flow going. Of course, I was looking for new ideas, too. But around Christmas time, things got a little derailed as they will.
When covid hit, my band Saints and Sinners had just started a new residency at The Shrine, but that all went out the window, of course. So I began the writing sessions again. This new song, “Eight Million Ways (To Be Alone),” is a product of that second group of sessions.
I had the title hanging around for years but the music came along in 2020 and I thought it was a good match. The chords are an extension of a tune that has haunted and saved me before with its soulful gospel roots and aching desire. The lyrics describe the universal feeling of being alone in a teeming metropolis, even one as large and diverse as New York City. They suggest that there’s a little bit of that loneliness in us all. The strings evoke Al Green or Curtis Mayfield but also Nick Drake and the Left Banke, originators of the chamber pop style. I’m looking for a soul singer that can do the song justice and hopefully collaborate with me in the future. Here’s looking forward to the future, everybody!
The great blues master Big Bill Broonzy’s “Key to the Highway” is one of the most famous eight bar blues. Besides the evocative lyrics and simple but catchy melody, the chord progression itself helps to make the song compelling. Eight bar blues are far less common than twelve bar blues, and there seem to be numerous quirky variations. “Key to the Highway” falls into the quirky category.
The most common form of the eight bar follows a similar chord pattern to the twelve bar. In the key of A: A – A – D – D – A – E – (A – D – A – E). An example would be “It Hurts Me Too” by Elmore James. In the second measure of “Key,” Broonzy replaced the I chord A, with the V chord E, creating this pattern: A – E – D – D – A – E – (A – D – A – E). Now that I think of it, it’s not that different! But it supports a nice melody line, with the note G# (Broonzy) or B (Walter, Clapton) coming in the middle of the first phrase. Plus, the chord movement from A to E creates a hook at the beginning of the pattern and at the beginning of the second half of the pattern – an ingenious and efficient compositional move.
About the Video and Tab
The performance of the song that’s shown in the video is typical of a certain blues style, meaning that it was improvised to a degree. Various licks, chords patterns and turnarounds were inserted into the basic structure and only the beginning and end verses are played pretty much the same. The tab shows the structure of the song and is playable by a relative beginner who knows basic chords well. Note that I didn’t provide them in the chord diagrams – if you don’t have the open A, A7, D7, Dm7 and E7 down, you’ll need to learn and memorize them to play this tune.
Another important concept for any beginning blues player is the pattern that starts off the tune. This is known as a “boogie pattern,” and it combines a melodic and harmonic (chordal) function into one figure. The bass note is an A, and the upper voice, the part that you finger with your fretting hand, has the notes E and F# and can be extended with a G. This comprises three of the four notes of an A7 chord (A – C# – E – G) . Patterns like these, whether they have multiple notes struck at the same time or are strictly a melodic figure, stand for chords. Let’s take a look at the arrangements used in the video, verse by verse.
Verse one is the most like the tab. The turnaround uses open position chords. Measure seven, the first measure of the turnaround, features four chords, one to each beat: A – A7 – D7 – Dm7. This is a standard two bar turnaround chord pattern with passing seventh chords added. You don’t necessarily hear these chords all the time, but the melody that they support is in countless blues songs. This line is clearly stated in the “Robert Johnson” and “Crossroads” turnarounds below: A – G – F# – F – E.
Verse two arpeggiates the D7 in measures three and four and uses bar chords in the turnaround. When you add the open high E string note to the D7, you get a D9 chord that has a unique harmonic and melodic sound. The bar chord version of the turnaround is highly useful because it’s movable to many different keys. There’s a short lick that leads you to the final E7 chord, straight out of the Form I blues scale in A at the fifth fret.
Verse three uses what has become known as the “Robert Johnson turnaround” and it’s included in the tab above. People often play it starting on beat two, leaving out the first three notes as written here, but I kept those notes to fill in the rhythm of just one solo guitar and to make it easier to play. You can hear it in the cover on Eric Clapton’s Layla album, as well as on various Robert Johnson songs.
Verse four swaps the D7 chord for a boogie pattern with no open strings, ie it’s played at the fifth fret on the A and D strings. The turnaround that uses a low bass riff is taken from Robert Johnson’s “Crossroads.” There’s a tab for it below (second line).
Verse five uses an open D string boogie pattern. It’s not in the tab, but all you have to do is move the A7 chord boogie pattern up to the D and G strings. The final two (ending) chords are a favorite voicing of mine, G# and A dominant seventh chords with no root note. Interesting how you can end the song on a tonic chord that doesn’t contain the tonic, right?
Conclusion
Although you have a video of my performance of the tune, I can’t emphasize enough the benefit of listening to classic recordings of a song. The original acoustic version by Big Bill Broonzy has an infectious bounce to it, and his voice and guitar playing are something to behold. Another great rendition of the song is by harmonica legend Little Walter. The amazing Muddy Waters Band backs Walter up and the interplay among the band is astonishing. Another must hear reading of the tune is on the aforementioned Layla album. At over nine minutes, it’s also a perfect track to play along to.
Take your time listening, playing through the tab and looking at the video. You need to know the chords and the patterns before attempting to put the whole idea together. Just to get the main eight bar form working is a perfectly good goal. Then, you can add things in from there. Most importantly, have fun with it! –Christian Botta
One of my guitar students asked me for recommendations of albums on vinyl so I dashed off this list. Many of them I’ve had for a long time and some for less, but one thing that they almost all have in common is that it’s pretty easy to listen all the way through. Yeah, you got to flip ‘em. Also, these records have a story behind them. There are many great artists that I’m totally devoted to who are not on the list. That’s not a value judgement in any way. Most of the newer music that I listen to is on CD. Also, I listen to jazz and classical all the time but mostly on CD. There is a certain inspiration and serendipity to the list, as you will see.
Isaac Hayes – Hot Buttered Soul – I listened to this one a lot when I first got my latest turntable. I bought it at Mercer St. Books and it sounds amazing. I know this because The Lady Migdalia said one time when we were dining chez moi, “Chris! This sounds so incredible!” It’s deep, delicious, colorful and it has an edge to it, as well. It’s a pretty old pressing. They often sound like that.
Pink Floyd – Wish You Were Here. This is one of my all-time favorite albums and my favorite Pink Floyd record. I’ve got the official PF pressing, somewhat recently released. It sounds warm and intimate, with lower compression than the CD that I’ve listened to a million times, one of the first CDs that I ever bought. The official release also came with a digital download that I’ve got on my phone. But I also have the first copy I bought, when I was around fourteen. I was in some kid’s basement – yeah, I know who it was – and I’ll never forget the sound of David Gilmour’s guitar with the MXR Phase 90 on “Welcome to the Machine,” tripped out as all hell right from the attack of the first note. I was hooked for life. And that beat up pressing still sounds great.
Something Else By The Kinks – I always listen to this when I’m cooking. I bought it for $2 back when I worked at a record store. It’s a “cut-out” copy, meaning it was sold as a bargain to the store by the record company with a little slice taken out of the cover so the consumer knows it’s been discounted. It’s incredible all the way through with a couple of really killer highlights. The great Nicky Hopkins guests on Hammond organ on the song, “Situations Vacant.” There’s nothing like it.
James Taylor – Mud Slide Slim and the Blue Horizon. My Uncle worked in the music industry and he gave me a copy on cassette when I was thirteen. And then I found a beautiful vinyl copy on the street about ten years ago. Just recently, I found a CD copy in the park. It follows me around. It’s sad and haunting and whiney and fantastic and uplifting with great musicianship and it sounds beautiful on vinyl.
Traffic – Low Spark of High-Heeled Boys. I once saw this described as “too easy to listen to.” It’s phenomenal. I don’t know where my copy came from. I don’t remember buying it. There’s an extended version of one of the songs that you can buy on iTunes for $1.29 that is a real gem. It’s called “Rock and Roll Stew.” Steve Winwood at his best but with the rest of the gang in full flight.
Albert Collins – Trash Talkin’. The Iceman is a great blues guitarist and he eventually achieved some national and international renown. But on this album, he’s really laid back, playing a bit in the style of late ‘60s soul – stripped down, tight and great sound. Minimalist. Plus, he plays at least three of my favorite blues songs on the album. You’ve got to love the name of the album! A stone killer! I bought it on Discogs.
Fleetwood Mac – Bare Trees. This is a transitional Fleetwood Mac album, where they were going from the popular mid-tier blues revivalists to top tier pop rockers. Bob Welch is on lead vocals. It’s pre-Stevie but it has Christine McVie and you can hear the future direction in her two wonderful songs. It is very easy to listen to. The late Danny Kirwan plays a very Clapton inspired lead guitar but a lot of people did at that time and I love Clapton. I also love the album cover, an early ‘70s, moody, atmospheric kind of vibe, which was lensed by bassist John McVie.
Joe Cocker – Stingray. I bought this at Academy for $8. It is loaded with genius guitar players, including EC himself, Cornell Dupree and Eric Gale (not the newer guitar slinger of today, Eric Gales). Super mellow and fantastic sound. They recorded it in Jamaica and it sounds like it. No expense spared, top session people. Just brilliant with Cocker at the beginning of his “comeback.”
Brahms – Piano Quintet Opus 34 with Andre Previn on Piano. I’ve had this album for over 30 years and it still sounds perfect, which is to say, dynamite. I took it to In Living Stereo recently, a super high end stereo store, probably the last of its kind in NYC, where I have a friend, and I listened to it on a $40,000 or way more stereo system. It held up beautifully. Intense and inevitable. If you’re in the mood for something classical, this is one of Brahms’ best and most famous chamber works. The top of the heap where classical music is concerned.
Blue Oyster Cult – Tyranny and Mutation. I don’t know why I have two copies of this album. But a few years ago I got into a thing where I was playing it all the time, until a wacky neighbor moved in below me before she moved above me, to escape the sound of albums like this. Says it all. Guitar-O-Rama! A New York hard rock band, recording in Columbia Studios. A rarity. It’s no surprise they became as big as they did. And no, it doesn’t need more cowbell.
Jimi Hendrix – Axis Bold As Love. It doesn’t have all the hits that Are You Experienced? has, but it’s more intimate, with stunning sound and guitar playing. It sounds like Jimi is sitting next to you, and that’s a good place to be. In my top five or top three, even though I don’t listen to it all the time. The music is burned into my DNA.
Mazzy Star – She Hangs Brightly. Bought at a record store, full price, when it came out. I read about it in Spin! Magazine. I loved it then and I still play it. Great from start to finish with inventive, emotional but simple and direct guitar work by David Roback and the Girl From Sandoz I mean Hope Sandoval’s beautiful and influential voice.
The Replacements – Pleased To Meet Me. Ferocious and brilliant. I bought it when it came out and I still have my pristine copy. I love the Replacements and I consider this to be their best album and if that pisses you off then you know which ones are the other two. Great songs and a crispy, highly present sound. Actually recorded digitally, must have been an early example (1987). Smokin’!
kd Lang – Shadowland. I got this as a promo when I was working at J&R Music World. Fantastic torch songs, sophisticated strings, every embellishment and all the heartbreaking crooning you could ever want. The sound is beyond belief. Her voice is everything. Produced by Owen Bradley, who has a statue in Nashville. He also produced Patsy Cline’s hits back in the ‘50s. He was genius. Goes down easy, ie over in a flash and you have to put something else on, but there’s almost no way to follow it up. I still have my original copy and it sounds really rich. Would stand up to Sinatra’s best. OK, maybe a little lighter than that, but that’s a good thing.
Emerson, Lake and Palmer – Tarkus. I had to include this because I play it all the time, especially when I cook, which is quality time for me. But I usually only play side one. It has awesome album cover art, the sound and performances are cutting edge, and Greg Lake’s voice is something to behold. I read a biography of his recently, and he said this was his favorite ELP album. I wasn’t surprised at all.
John Coltrane – Plays The Blues. Just a great Coltrane album, I got it when I was in my teens and still have my original copy which sounds clear and deep. I once saw the piano player McCoy Tyner from a few feet away at a club in the Village. We were all 17 years old and they would serve us alcohol! The music is in the “hard bop” style – ha ha! I’m laughing because it took me so long to figure out what that meant. Yes, it is worth discussing but easy as hell to listen to. An essential jazz album. You probably wouldn’t mistake it for blues. But then again, maybe you would hear it that way. It does use the form.
Never Mind The Bullocks, Here’s The Sex Pistols. I have a copy of this that I bought probably when I was working at J&R. I’ve played it hundreds of times and it still sounds as abrasive, exhilarating and perfectly calibrated to incite a riot as it did when they made it. It was the centerpiece of a paper I wrote about punk when I was in grad school. The course was called, Music and Indoctrination. Get it?
Mott The Hoople Live. I guess we’re down to the punk/glam part of the list. This album is a favorite of mine. Really loud, melodic guitar playing and a raucous live band kicking it out on Broadway in the New York City of the mid-‘70s. When I was 14 years old, I bought it just for the cover. It endures, and then some. I used to only listen to side one but about ten years ago I discovered the glories of side two. A double album import version of this exists and die-hards swear that it’s vastly superior. I own both but I think the original, single album version is perfect.
Led Zeppelin II. On my fourteenth birthday, I went over to my Grandparents’ house to visit them. My Aunt Betty had left me a present. It was a copy of Led Zeppelin II. I was overjoyed. She had read my mind. How did she know? She was cooler than anything, that’s how. Many years later, I found a bunch of lovingly cared for albums laid out on a stoop on the Upper East Side (I used to go there all the time to teach guitar lessons). Among them was a copy of Led Zeppelin II, which I carried home with me. I later found out that it’s considered to be one of the top American pressings of the album and all you’ve got to do is listen to it to know why. It is really crunchy! Aunt Betty’s copy is in the closet. As Jimmy Page said, “It sounds like playing all the time.”
Joni Mitchell – Blue. This pressing doesn’t sound that great or perhaps it’s just a slightly weird sounding album, a little bit of hard mids or something like that. But it’s so moving, melodic and strong on the songs that it doesn’t matter at all, I always play it all the way through. I read that Jimmy Page had a crush on her but he was too shy to do anything about it. I guess Joni could be a little intimidating. Superb, inventive guitar playing and Joni’s voice is heaven sent. It must have been mostly live. No autotune, folks. No digital comping. She said she was always bursting into tears during the recording sessions. Inspired.
Experienced guitarist looking for bands, gigs, recording projects, session work and collaborators. I write songs and I’m good at collaborating. I teach guitar. I like to rehearse as long as the ratio of gigs to rehearsal is good. Also looking to join/form a rehearsal band. People say I play really good solos, the main reasons probably being that they're structured, melodic and not endless and totally dependent on flash. I also play very good slide guitar. Read this review from Blues Blast Magazine for details. I have a new self-produced album out and you can listen to it here.
Blues, blues-rock, R&B and psychedelia are my favorite genres to play. I also have a lot of experience with classic rock, alt-rock, country-rock and Americana.These are some of the situations/people I'm looking for: Songwriting partner, bands that perform live/record/rehearse, rhythm guitarist, demo singers, Christine McVie, Nicky Hopkins aka keyboardists, especially who can sing. Great singers, period. Also looking for a singing acoustic player to form a duo to do gigs. I have a good amount of experience in the studio including analog and digital recording.
Video
I'm Leaving You - Otis Spann w/ the Anodyne Blues Band
That's Why I'm Crying - Magic Sam/Koko Taylor w/ The Fountain of Blues
The Stumble - Freddie King with Fountain of Blues
Clouds/I Wanna Be Adored - Original/Stone Roses w/ Cargo Culte
A Little Jimi For Ya
Wild Horses performed by Sleepless Nights
Influences
Some influences include Lowell George, Curtis Mayfield, The Rolling Stones, The Doors, Duane Allman, Jimi, Jimmy Page, Eric Clapton, Jeff Beck, Amy Winehouse, John McLaughlin, Hot Tuna, Pink Floyd, King Crimson, David Bowie, Gram Parsons, Bob Dylan, Mississippi John Hurt, Grateful Dead, Freddie King, Jimmy Reed, Muddy Waters, John Lee Hooker, Otis Rush, Chuck Berry, Miles Davis, The Clash, Jane’s Addiction…
Equipment
I use all analog equipment and classic Gibson, Fender and Martin guitars. Lately, I've been favoring Gibson SGs and Strats. I always use a '76 Hardtail Strat for slide. I use a selection of small Fender tube amps including Pro Junior, Princeton 68 Custom and Fender Deluxe. I have Marshall 50 Watt head and 2-12 cab. I use mainly vintage style pedals and never more than six at a time, sometimes as few as two.
Chemistry is the elusive facet of any band that truly succeeds. Even at the simplest level, this is what people want to see and hear. With chemistry, the whole is greater than the sum of the parts. This came into play when I formed The Anodyne Blues Band with a childhood friend and a blues rocker from across the river. In between the first recording sessions and the second ones, a master musician from Bremen joined and the Riverman headed for the greener pastures. But the music lived on for quite some time. More details may be forthcoming but for now, as Chuck Berry once said to me, “Listen to the music.” Or a little less poetically, click on the song titles to listen.
The big number, written by drummer extraordinaire Chris Trotta, who played on all the songs. A raging harmonica solo and back-up vocals frame the nifty production.
A traditional classic, we took the arrangement from Otis Spann and did our thing with it. Christof played a spectacular, go for broke harp solo. The slide got a little notice, too.
The first song that I brought in and still one of my favorites. Aaron "Chess" Chesler on bass and through to the end of the album. Jimmy Reed crossed with Stealer’s Wheel? It just might work.
More true stories. And by the way, the main lick can be heard in Roxy Music's "Mother of Pearl," not just on Jimi's version of "Come On." Dig the bass.
This arrangement of one of Keith Richards’ signature songs with Ron Wood on acoustic slide guitar presents a quirky part of the Rolling Stones’ history – the sideman as star. The Stones have often employed top notch talent in their band onstage and in the studio, think Nicky Hopkins, Billy Preston, Bobby Keyes. Here, Mick Jagger has left the stage, turning it over to Keith. And then, Keith turns the spotlight over to Ron Wood for a tasty slide solo. Woody has been an official member of the Stones since the 1970s and he fit right in from the beginning. But he has always been a role player. In this version of “You Got The Silver,” he nearly steals the show.
The song is a shuffle in the key of E, with a tempo of about 94 bpm. The tempo picks up a little bit or slows down slightly at various points. The slide part is played in open E and Ron uses a metal slide on his middle finger. RW plays with a flatpick in his right hand and uses a lot of upstrokes, especially on the high strings.
The guitar lines are phrased around the 12/8 shuffle feel, with the long-short-long-short-long pulse dominating, except when Woody goes against the beat with syncopated phrases. This happens a lot, often in the even bars with nice resolutions in the odd bars. The solo begins and ends on the main guitar lick of the song and Ron uses some of Keith’s fills from the original version as the main material for the slide solo. The lick that is used the most is a “sus-4” kind of motion on one string as in measure three, going A – G# – E with a slide from E to G# and then a pull-off from G# to the open E. Woody does it later on the D string (tuned to E, of course) in measure six and at the end.
Woody with The Stones - Late '70s?
The original song features an acoustic guitar for the main lick but also an electric slide guitar as well, with a backwards tape effect. Ron Wood strikes a nice balance with an almost ‘clean electric’ tone from his Gibson Jumbo 200.One of the aspects to listen for is Wood’s extremely bluesy and subtle vibrato. It can be difficult to master the vibrato technique in slide, but it’s essential to the style. It can be advantageous to try and copy the vibrato of an accomplished player when you’re starting out. Does Ron Wood sound a bit like Mick Taylor or vice versa? Do you hear a little Earl Hooker in there? What do you hear? Think about it. It’s a damned good vibrato. Subtle, sly, but with an edge of weary emotion.
Before Ron Wood was a Stone he made his mark as a member of the Faces, one of the all-time champs of rock and roll. L-R: Rod Stewart, Kenney Jones, Ron Wood, Ian McLagan and Ronnie Lane. They're shown here in a rather demure state, a Beano-like pose, if you will. This version of their first album must be a very early one as you can see by the band name.
Here's the inside, gatefold picture from the album. Just had to share that. You can see better where the name is coming from - dig those threads!
How I came to so passionate about classical music is not completely clear to me. It may have started in my teens when a friend played an LP from Toscanini’s set of Beethoven Symphonies over a powerful stereo system. Or maybe my obsession had roots in Clockwork Orange, which features the music of the classical masters. Soon enough, I found records in my own home and listened to them. Eventually, I started buying them, going to concerts, and studying classical guitar. This article is meant to give a budding classical music lover direction. Some composers, artists and ideas are all you need.
It can beneficial to focus on a single artist, instrument, composer, style or orchestra. As an example, one of the best orchestras that I’ve ever seen perform is the Cleveland Symphony Orchestra. They’re known for their warm, precise string sound and dedicated work ethic. You could do worse than simply listening to anything that they’ve recorded, studying the composers and conductors a little bit. Seeing them in concert is one of the musical treats of a lifetime. With this in mind, read on and see if you get some ideas.
My Favorite Composers
Mozart
Did you know that Keith Richards listens to Mozart? It doesn’t surprise me at all. But with over six hundred works, where do you start? Mozart has the most awesome piano concertos. Here are some of my favorites: No. 19 in F Major, K.459 – it has a pretty main theme and is sweet and easy to listen to; No. 21 in C, K. 467 – this one is the most famous because of the inclusion of the slow middle movement in a romantic movie from the ‘60s called the Elvira Madigan; No. 20 in D minor, K 466 – Mozart wrote only two minor piano concertos and this is one of them. Beethoven loved it and would play it in concert. Imagine Beethoven playing Mozart? No. 23 in A, K. 488 – this is another one of my favorites and has a melancholic, reflective middle movement. The overall form of a large scale classical piece is, fast – slow – fast. No. 24 in C minor, K.491 – the other minor concerto. Definitely a great one. A pretty good string of hits, right? But that’s just a tiny fraction of Mozart’s output.
You may have heard the great G minor Symphony, No. 40, and you think you’ve heard it all. But whatever you do, do not fail to listen to the “Little G minor” Symphony, No. 25 of Mozart, and his final romp through the genre, No. 41 in C major, known as the “Jupiter Symphony.” The Finale of the Jupiter Symphony is the culmination of perhaps the greatest career that ever happened on this mortal coil.
Kochel Numbers – I never understood what the “K” meant before all of Mozart’s works. I thought, “does that apply to all composers?” It wasn’t until I went as far as becoming a musicologist that I found out that this designation was brought to us by an individual. Ludwig von Kochel (1800-1877) was a musicologist who catalogued all of Mozart’s works. His system was established in 1862 but of course, the work goes on. Speaking of which, Mozart’s piano trio, K. 502 is one of my favorite pieces and one of the best examples of classical chamber music that you will ever hear. Don’t forget Mozart’s operas – a little opera is always good, especially when cooking! Mozart’s Don Giovanni is definitely cooking worthy, especially if you’re cooking Italian.
Haydn
Joseph Haydn was another Austrian composer who was an influence on and a friend of Mozart. He outlived him by quite a bit, born earlier and died afterwards. He’s famous for his many symphonies and also his string quartets. His is a much drier style. He lacks the infectious melody of Mozart but he’s worth a listen to hear classical music that is similar but different. I have some Haydn Symphonies on vinyl that I bought for only a couple of dollars each and they’re delightful.
Franz Schubert
Franz Schubert was a precocious genius. He died young but managed to create lasting music that forms somewhat of a bridge between Mozart and Beethoven. He composed a lot of song settings which are worth checking out, whether or not you understand German. The “Erlkonig” is one of them, the most famous of all. OK, so it’s sung in German. Give it a chance. Look up the translation. Pour yourself a glass of wine. You won’t be disappointed. He also wrote symphonies, solo piano music, and chamber pieces. He worshiped Beethoven, as did all of the romantic composers who came after him.
The great baritone Dietrich Fischer-Dieskau cranks up some Der Erlkonig for you...
Beethoven
When I was in the conservatory, we used to have these “orchestra parties.” How I relished them! There were too few of them, unfortunately. However, one time I was lucky enough to see a performance by a young woman, a senior. That would be a graduating female pianist, all of about 22 years old. She performed the Beethoven Piano Concerto No. 3 in C minor. It starts with an imposing minor key movement which gives way to an ethereal slow movement in E major, not exactly the most common key for a middle movement in a C minor composition. The finale is a demonic exercise in pure, catchy, minor key bliss. My heroine was very involved, swinging to and fro on the piano stool, perhaps presaging the violin and piano babes of today but a little more modestly dressed. I was spellbound and I will never forget it. One of the great classical pieces. Beethoven has loads more music, and his string quartets, piano sonatas and of course his symphonies are highly recommended, if almost inescapable.
Frederick Chopin
Chopin was from Poland and the airport in Warsaw is named after him. He was very sensitive and had an awesome girlfriend named George Sand, a writer and preternaturally cool chick. Chopin was a “romantic” composer who is famous for his piano music almost exclusively. If you’ve ever seen the Peanuts cartoon, you know that Schroeder, the kid who always played the piano, was into him. The G minor Ballade is a popular favorite and may be familiar to you, but there are many more large and small gems where that came from. His talent, style and sound are truly unique.
I had heard of Martha Argerich (above) recently and become interested in exploring her playing. A brilliant performer, she has had her share of ups and downs, it seems, like many a talented artist. Last night I came upon this video and watched the whole performance. The encores are terrific and it's difficult to describe the gamut of emotions that come throughout the entire concert. Isn't it cool when you are looking for something, expecting greatness, and voila! It's there for you? Classical music can do that.
Richard Wagner
Wagner is mainly famous for his operas. They are very long, slow and sad for the most part, although they can be quite uplifting in a stoic kind of way. However, they all have instrumental music in them. I have a CD of all the famous preludes and overtures, and The Tristan Prelude is a great place to start. I finally managed to see one of his operas, Seigfried at the gorgeous Hungarian National Opera House in Budapest a few years ago. It took Wagner years to finish it and there is a fascinating progression in style as it goes along. It ain’t over until the full-figured lady gets up off her slab and sings. Worth the wait!
Tchaikovsky
When Chuck Berry sang, “Roll over Beethoven, tell Tchaikovsky the news,” he knew what he was talking about. Tchaikovsky is one of the most popular, regularly performed composers in the classical repertoire. His Symphonies, piano and violin concertos, ballet music and operas are all concert house staples. I personally listen most often to his Symphonies and numbers one and four are my favorites. I wrote a paper on the first movement of No. 4 in grad school. His Nutcracker Suite is a must for Christmas music, and he also wrote a violin concerto and a piano concerto that are reknowned concert pieces. The Russian repertory starts with Tchaikovsky, and there is a saying that the best ‘insert instrumentalist here’ are always Russian – do you need any more reason to investigate?
Debussy
I listen to tons of solo piano music. I find it relaxing and there’s an endless repertoire of beautiful pieces to get hooked on. Claude Debussy’s solo piano works are almost a genre unto themselves. I often start my day with a Debussy piano CD and there are others out there who do the same, looking for something soothing, sexy and transcendent to ease them into their day.
These pieces include his Images, Estampes, Preludes and Etudes. They are generally short but have long, fancy French names and even the translations will make you want to hear them. One of the most famous is called, “The Sunken Cathedral” – need I say more? You can find it on the CD that I have probably listened to the most, Debussy: Images, Etudes by Pierre-Laurent Aimard, 2001, Warner Classics. One of the first Debussy albums that I ever heard was with pianist Paul Jacobs. He recorded much of Debussy’s work and also a great record of Schoenberg, all for Nonesuch in the ‘70s. I collect Nonesuch LPs.
It’s also essential to check out Debussy’s orchestral works, which are very popular if not performed as constantly as some works, possibly because they’ve already been performed so much. Three great pieces are La Mer, Prelude a l’pres-midi d’un Faune, and the symphonic arrangement of Clair de Lune.
Maurice Ravel
Ravel has some great music, including a beautiful string quartet, often paired on disc with Debussy’s quite complementary offering. Ravel’s solo piano music is also watery, rhythmic and mesmerizing. His “Gaspard de la Nuit” is a perfect example.
A Nonesuch LP from my collection.
Favorite Performers
Violin music is the province of that most exalted of musicians, the violin virtuoso. You can’t go wrong with a cool violin concerto or sonata and a great player, of which there are many. One artist that I really love is Maxim Vengerov. I’ve never been able to find any of his recordings to buy but you can certainly check him out online. I saw him play at Carnegie hall and he lit the place up like you can’t imagine. He plays a Stradivarius, of course. The sound was to die for.
Nathan Milstein is another brilliant violinist. For some reason, you hear a little less about him than the other great virtuosos of the 20th Century. He plays dry but very penetrating, intellectual Bach.
Mitsuko Uchida is a superb Japanese pianist. A revered pianist of today, she’s nearing her golden years but will certainly play to the end of her days. A terrific musician, I saw her play once. She is famous for Mozart and Beethoven but can play anything and does most of the major concertos. Some recordings of hers that I own: Shubert Impromtus Op. 90 & 142, Mozart sonatas and the spectacular Beethoven Piano Concerto No. 3 in C minor.
Nadja Salerno Sonnenberg is a violinist who came of age around the time I was in the conservatory. She’s famed for her extremely expressive playing and physical movement on stage, plus flaunting her substantial physical charms and more or less inventing the ‘classical babe’ persona as it were. She plays beautifully and one of the first albums I bought by her features the Brahms Sonata for Violin and Piano in A and the Franck Sonata for Violin and Piano in A. The cover is priceless.
It can be hard to choose between Khatia Buniatishvili videos, here playing Schumann.
Arthur Rubinstein – my impression of Rubinstein is like this: “The piano very BIG, the orchestra, very small.” He is one of the great pianists of the Twentieth Century. I have a double album of him playing Chopin Piano Concertos that I found on the street of all places. He does all the great piano repertoire, although I have to say I don’t always get all of his recordings, the sound or the mood. I think he may have missed out a bit on the high fidelity period. He lived 1887-1982.
Daniel Barenboim – An Isreali-born pianist and conductor. Some of my favorite recordings include him either playing or conducting or both. He conducts and plays terrific Mozart and plays Chopin beautifully.
The Latvian conducter Mariss Jansons recorded two of my two favorite Tchaikovsky Symphonies and he’s one of the most charismatic conductors that I’ve ever seen. He recently retired. Jansons mainly conducted the big warhorses but did them very well. He was the director and conductor of the Concertgebouw, the historic concert hall in Amsterdam. I saw him perform there once and again at Carnegie Hall. His father was a conductor and died of a heart attack on stage. Jansons has the same bad heart and that’s why he retired.
A Few More Records and Pieces That I Love
Brahms Hungarian Dances – one could do worse than to listen to these highly romantic and idiosyncratic pieces. Grab some Palinka and look up the history of the work and Brahms himself and you’re off on a transcendental excursion. The above Piano Quintet Opus 34 is also a favorite, a long, engaging piece filled with fiery passion. I guess the piano quintet is a favorite set up for me - a pianist in solo mode joined by a string quartet as backing and foil. Bliss I say!
Antonin Dvorak - Piano Quintet Opus 81. I saw this piece performed at Town Hall in NYC and fell in love with it. The recording I have of it, played by the world famous Takacs Quartet, never gets boring. In fact, I'm always looking for that new, gorgeous chamber piece to dive into but I keep coming back to this and several others.
Arnold Schoenberg, The Transfigured Night. This is dark, spooky, deep and unforgettable. Schoenberg is famous for his twelve-tone compositions and other groundbreaking works. But The Transfigured Night transcends all labels. Somewhat challenging but ultimately rewarding, try listening to it with the lights out. A modern masterpiece.
Thus Spake Zarathustra – by the modern Strauss, Richard – aka 2001 A Space Odyssey. A piece that makes vivid use of a large orchestra. Don’t miss a chance to see it live! In the performance above, at the Bartok National Concert Hall in Budapest, this must before the Strauss, because the orchestra was about double the size.
Leos Janacek – I have an “Anthology of Czech Piano Music” from Janacek. I bought it in Prague at a tiny little CD store next to a bar and a pizza place – everything you need right on one block. It reminds me of silent movie music a lot of the time, in a really good way. It’s watery and melodic like Debussy and Ravel.
The hallways alone are reason to visit the Bartok National Concert Hall in Budapest.
Venue
Ooops! Almost forgot one of my favorite ways of thinking about the music experience: Venue. Many people will strongly disagree, but living in NYC, I find the venue question a bit difficult. I love Avery Fisher Hall in terms of its aesthetics, but it doesn’t really sound good. Carnegie Hall is way better, but terribly expensive and a bit uncomfortable in ways (ever try to use the bathroom if you are sitting in the back of the orchestra, stage right? The loo is waaaay down stage left, basically behind the stage, etc.
No, I like other countries, cities, etc venues and I seek them out any chance I can. Some favorites include the many wonderful options in Budapest, including the Bartok National Concert Hall (above). Berlin has a wonderful modern complex where I visited the small hall, and it was tres modern with lovely acoustics. The Concertgebouw in Amsterdam sounds incredible and has a terrific vibe. Well, let’s just say, if you find a venue that you like and it’s nearby, count your blessings and get ye to some concerts. -Christian Botta
Mixing the individual musical tracks of a record can be one of the most difficult phases of the production process. But I managed to get a little bit more of a handle on it when I finished my current album, Saints and Sinners. I was stuck, I admit. But as the jazzbos sometimes say, “You just have to listen.” So, that’s what I did. I made a huge list of songs – all of them hits of some kind, and most of them favorites of mine – and I methodically listened and took notes. I used mainly headphones, a pair of Beyerdynamic DT770s, top flight cans, in conjunction with my respectable stereo system which includes Epos speakers, a Marantz CD player, a Rega turntable, plus my iPhone with its earbuds.
I listened in quick bursts of three or four songs, usually rotating from one medium to another, ie LP, CD, iPhone. Very infrequently, I listened with the earbuds on YouTube.
Many engineers and producers these days try to play it safe and do what I would call a kind of “modified mono” mix. There are some stereo effects and the drums will have a stereo image to an extent, but most of the music is coming up the middle. I didn't want that on my record. Another conservative trend is to use effects very sparingly. So, I paid attention to that in my listening, as well.
Unsurprisingly, some of my favorite records are on the “mono-ish” side and they’re not exactly spring chickens. One of the theories is that if one speaker is shot in a club or in a car, you don’t lose crucial parts of the song. Or, just think about those kids on the subway or a park bench with one headphone in one kid’s ear and another in their friend’s ear.
Well, as Frank Zappa once said, “I don’t make records to be played on cheesy stereos” or something to that effect. I wholeheartedly agree. Panning rocks! Stereo rocks! And many of the famous records of the ‘60s have highly adventurous panning.They took chances. Maybe the singles were mixed for mono AM Radio. I don’t care. I love to hear Jimi’s guitar whooshing all over the place, taking flight across the galaxy and beyond. And I love to hear a part that whispers to you from the far right or left. In any event, I highly recommend trying this exercise if you’re in the mixing phase or just a recording musician.
Get on with it!
Sex Pistols – Never Mind The Bullocks, “No Feelings,” LP. Guitars up the middle for the intro. Everything is up the middle to start. Some stuff a little to the left and right, accent guitars. A centered mix. Opens up in the choruses, but not far. The outer guitars are maybe 10:30/1:30. Guitar solo centered with some slashing stuff from the near left accenting. Bass and kick straight up. Snare, too. Some cymbals are in the outer sphere. Relatively dry sounding and monochromatic. Maybe some room sounds on the guitars and drums. Compressed? Invites you to turn it up.
Killing Joke – Brighter Than A Million Suns, original 1987 LP, “Adorations.” A big stereo mix. Lots of drums and keys up the middle with the vocals. More keys and distant guitar noises to the sides. During the big climbing riff, more stereo clarity is discernable. I don’t hear much to the left at 9 o’clock. More on the right all the way over and at 3 o’clock. Synths come in and out complementing the vocal during the chorus. Many stereo effects.
The good ol' days in L.A.
Steely Dan – “Show Biz Kids.” LP. 770s. Slide guitar starts it off, way off to the right. Some drums come in next but they are on the left, not typical drums. Back-up vocals are definitely not centered. The lead vocal is. The main part of the drum kit is off to the left. The bass is in the center. Main part of the girl’s vocals are on the right, way on the right. When the other Dan guy comes in with his “harmony,” (not really sure if there’s a harmony) it’s in the center. Rick’s slide guitar solo licks are still on the right, about 1:30. Some weird xylophone comes in way on the left. Hard to place the piano. Hand claps way on the left. Slide guitar dominates the right. Piano becomes clear eventually as being on the left. A complex and awesome mix and song. Big slide guitar solo never goes center. Piano moves over towards the center (but not in the center) as the song builds. A sick harmonica finally comes in as the song builds to a climax. It is well to the left and you can hardly tell it from the weird scream that comes in the center before it. But you still can tell if you listen closely, which may be hazardous to your health.
The Who – Tommy, 1969. Reissue LP. “Pinball Wizard” The opening acoustic chords (two guitars) are way right and the echoes are on the left. The electric power chords come in on the left, well left. Roger is in the middle. Moonie is in the center with The Ox. The huge power chords are left, the acoustic stays right, where you can hear it really nicely. Townshend’s backing vocals are a bit to the left. A very rhythmic, staccato lead guitar is also on the left. Roger’s vocals seem to echo off to the left with a beautiful reverb as well. The next track is totally different
Cream – “White Room” It says “STEREO” right on the label of the original 1968 LP, Wheels of Fire. The intro is full of interesting panning. The drums are definitely somewhat left, along with a weird falsetto vocal from Jack Bruce. The lead vocal when it comes in is in the center, bless his heart. The raunchy rhythm guitar is on the right. The bass is on the left. The burbling wah-wah guitar of the refrain is centered. The killer wah-wah guitar that will eventually become the solo is very much centered. The hi-hat is on the right! The timpani is on the… A very panoramic display of psychedelic colours… It almost lines up horizontally. No background vocals although you expect them. Yes, Jack Bruce is singing something during the “intro” that returns – it’s panned left. Eventually Clapton’s wah-wah guitar takes over, front and center. The bass still on the left, the drums start to kick up a little all over the place. Very creative! Felix! LSD!
Jimi Hendrix – “Red House” Smash Hits CD. The one guitar of the intro fills the whole stereo spectrum, tons of echo, whatever. But the focus is off at 1 o’clock. The vocal, bizarrely, is way off to the left, although there’s an echo to the right somewhere. The drums are centered. The guitar that is standing in for the bass is centered. Eventually, the lead guitar takes up stage right in direct opposition to the vocals which are well left, although they start to get bigger. When the huge lead comes in, it is still around 1 o’clock, 1:30. You could hear it from fifty miles away. It has a huge amount of echo. Who knew that Mitch could play such a killer blues? A few weird panning effects are thrown in towards the end, as expected… It should be noted that the guitar is so massive it could carry any song by itself. The vocal is pretty spirited, too. The mixing console in Electric Lady Studios is pictured at top. However, "Red House" was recorded at CBS Studios in London with addition work done at DeLane and Olympic.
A sea of dails and knobs confronts St. Vincent.
St. Vincent – Masseduction. CD 2017, “Hang On Me.” First song. Big electronic drum and whispering voice up the middle. EDM. Leans to the left like many mixes. I wish I could understand that strategy. Maybe a guitar solo comes in that sounds like a keyboard, Ebow or something like that. Whammy pedal. Lots of beautiful keyboards shimmering. It goes down easy in 2:44. A bit alien to my ears.
The Cure – Pornography, LP. “In The Hanging Garden” Guitars pan to the left and right. A tribal drum is in stereo. Smith’s vocals are mainly in the center but do move around quite a bit at times. The center is reserved mostly for the lead vocal and bass. Non-traditional drums. Various sounds will pop up far to the right or left at times. Keys are more or less centered but also move around, as does the crazed, tribal drum which eventually becomes more centered, yet less prominent. Phased, flanged lead guitars swirl ala Hendrix. Great stuff! The next song is completely different, instrumentally as well as the mix.
The KinksSomething Else, LP. “David Watts.” Piano all the way off to the right. Lead guitar way left. Lead vocal is middle. Background vocals are right. Drums are left. There is a second vocal or echo of the vocal on the right. There are lots of backgrounds and they move around. The lead vocal actually moves around and now it’s on the right. Nicky Hopkins moves and grooves – on the outro, the piano comes up and starts to move around. Couldn’t really hear the rhythm guitar. An incredible mix, and an incredible song.
Nirvana – “Smells Like Teen Spirit” The initial rhythm guitar is right in the middle and then the drums come in and then a bunch of other guitars, right and left. The bass is centered with the drums/snare and bass. The little e-b string lick is just a hair to the right. The back-up vocal “Hello, hello” etc is on the left. The lead vocal is centered. Very well recorded. The awesome guitar solo is on the left but has a partner that dances on the right a little bit. A boiling stew of anger and sonic aggression. There is a stereo guitar that just seems to accent the clicks or chunkas in the main riff.
Mark Ronson wrestles with some old school gear...
Amy Winehouse, “Back To Black.” Itunes purchased track. “Rehab.” Electric guitar or piano all the way to the left. Amy in the center, of course. Ray is somewhere nearby.. unfortunately. Huge bass drum and all drums centered. Bass is in the center. Bells and other stuff, strings off to the left. A complex mix. Right side a little less active. Horns are basically center. Some piano comes in at 1 o’clock halfway or more through. Punchy sounding to the extreme.
Alabama Shakes – “Sound and Color,” from Sound and Color, CD 2015. Keys up the middle make the intro. Some pedal-y stuff on the right. A Gospel vibe. Synth strings come in over the top. Drums up the middle. Bass, too. Vocals, too. A xylophone or something is on the left, well over. Maybe a stereo image on the right with some of these percussion/vibes things. A beautiful reverb on the voice. More keys come in to fill in the right hand side. Very full and loud. Backing/second vocal a touch to the left. Other than ‘sound and color,’ most of the words are unintelligible. A very Around the World in a Day vibe, on some level. -Christian Botta
Saints and Sinners will bring some rocking blues and bluesy rock and soul to The Bitter End this Friday, July 12th at 8pm. We last played the venue in February and we're raring to get back in action in Greenwich Village's most historic club. We've been playing an ongoing residency at The Shrine in Harlem, every other Tuesday night at 10pm, and we're getting sharper, funkier and looser all at the same time. We hope you can join us!
Here's a video from the February show, "Good Time Girl," a song from out first album.
Please bring your dancing shoes and/or high heeled sneakers!
This is possibly the first Gibson Les Paul Sunburt from the late 1950s to find its way to England. Keith Richards brought it over after one of the Stones' early U.S. tours. You can see him playing it in the T.A.M.I. Show, a landmark rock and roll movie.
I finally got out to see Play It Loud: Instruments of Rock & Roll at the Metropolitan Museum. It was fabulous, no surprise, and I will be returning as soon as I can. I came away with a feeling that a musical instrument is not fully complete without the player. But no matter, this exhibition rocks in a big way. I’m a huge fan of the Met and I go as much as I can. They did a great job here.
This show was somewhat small on a physical scale. Really, how much space does it take to house a hundred or so guitars and a couple of keyboards and drum sets? But the feeling is very intimate. There are also some video displays and they add a lot. One clip shows The Beatles playing at Shea Stadium in one of their last concerts. They were definitely rocking it and they made me want to see the entire show.
I was delighted when I saw Sister Rosetta Tharpe's Gibson SG Custom. I have a great SG and part of the reason I bought it was because it reminded me of the sound of this guitar. You can see SRT tearing it up with this golden guitar in the video below. On the left is Jimmy Page's main axe that he used as a session player. Again, mind-blowing - because it was stolen in the late '60s and just returned in 2015. I couldn't believe it when I saw it!
Jimmy Page is a central figure in Play It Loud. Most of his legendary axes are here, including his ’59 Les Paul Sunburst, his Gibson Doubleneck, and a Telecaster that he played with the Yardbirds. His other amazing Tele may be present as well! I lost count. Clapton is well represented, too. The “Fool” SG is here, along with “Blackie,” the ‘50s Stratocaster that he used for many years.
This gear survived some performances by The Who. Look closely at the guitar and you can see a huge crack along the upper bout. I once played a mint example of this guitar, and it was so beautiful it made me wonder what it would take emotionally or artistically to smash it to pieces. They don't make bands like The Who anymore.
The Who figure prominently as well, with one of John Entwistle’s trademark Gibson Thunderbird basses (not original, I think – of course he smashed that one!), a pieced together Gibson SG Special smashed by Townshend (you can see the cracks!) and one of Moonie’s drumsets, nicknamed Pictures of Lily after, well – you’ll see. This set doesn’t include the original bass drums, as Moon had a penchant for explosives and would put them in the bass drum and detonate them. It’s amazing he lived as long as he did!
Jimi Hendrix, the Who’s chief rival, was also present, with his hand-painted Gibson Flying V and a piece of the guitar that he burned and smashed at Monterey. But the guitar that really touched my soul was Jimi’s white Stratocaster, the one he played at Woodstock. Yep, he cranked out “The Star Spangled Banner” on this unassuming white Fender with a maple neck, no – not one of the fabled “Pre-CBS” models that go for huge sums, but an off-the-rack, contemporary model. The guitar is surprisingly clean. It looks like it hasn’t been played that much. But it was played by Jim Hendrix himself, at perhaps the most historic rock concert ever.
Jimi Hendrix's white Fender Stratocaster that he played at Woodstock. It's remarkably new looking, as if he barely got a chance to play it or perhaps he took very good care of it. Somebody did. In the Isle of Wight film, you can see him toss his guitar to the ground in frustration at the end of the set. Not this one.
I visited the Woodstock site once and although I missed the ‘60s scene (too young!), I was touched much in the same way when I saw the bucolic grounds. Time stood still for a moment and I got this little rush of delight. Time will surely stand still for you too if you love rock music when you see this excellent and timely exhibition. -Christian Botta