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You all inspired me to do a version of "You don't know what love is". I change some of the harmonies slightly. See if you can hear where.

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ed saindon Sat, 10/24/2015 - 08:44

Wonderful David. Also, wanted to say I watched the clips with you and pianist Danny Gottfried. Inspiring as always. Ed

vibraman Sun, 10/25/2015 - 18:32

In reply to by David Friedman

i wasn´t asked but i learned or better said, i was reminded by your version how cool it sounds if you dampen a single note like a b7 of a chord and turn it into a new function on the next beat.

tarik

David Friedman Mon, 10/26/2015 - 04:07

In reply to by vibraman

I should have made it a general question aimed at everybody. Sorry.

That's a great observation! Thanks for pointing that out. Now we're getting into a direction which I personally love. Not just listening and consuming, " I liked it."
"I didn't like it", etc. I love getting more deeply into the tune and into a discussion abut an idea/interpetation. This is more the way I envision the reason for this site.

Thanks Tarik!

Michael DuBick Mon, 10/26/2015 - 15:11

In reply to by David Friedman

As I listened to this, what stuck with me was the manner in which you created an internal dialogue between the melody and the harmonies throughout the four or so minutes of the piece using dampening of notes to punctuate and shape the phrases of that conversation. Although I could not pinpoint the alteration of the harmony, I could sense a tension between the two voices, so to speak, engaged in the dialogue. Isn't that what all good, stimulating conversations are all about? And, isn't that what we try to do when playing music?

Michael

David Friedman Mon, 10/26/2015 - 15:53

In reply to by Michael DuBick

Michael, your comment about the tension between the two voices was so intriguing that I went back and listened to the recording. It's fascinating the things that happen that one isn't consciously aware of when doing it. Your description was so right on the money that I think it will help ME in the future to work on this idea more consciously: even in terms of composition. Thanks!

David

P.S. Try one yourself. It doesn't have to be complicated.

Vaggelis Sun, 10/25/2015 - 21:36

This is SO deep...it is simply amazing!

Thank you David!I am constantly reminded of the amount of never ending possibilities,in interpreting a piece of music every time I hear you play.

David Friedman Mon, 10/26/2015 - 05:00

In reply to by Vaggelis

Never ending possibilities in interpreting a piece. Good point Vaggelis. Maybe you could think about another way of playing this piece and submit it.
My feeling is, the measuring stick for how far you can go is the distance your imagination takes you.

anthonysmith Tue, 10/27/2015 - 02:20

I enjoyed listening to this. What strikes me most is the sense of technical control of the instrument, and also great control of dynamics and phrasing.
Harmonically, it's a pretty straight reading of the tune, as written. I'm curious, David, when you do a "take" like this, do you just record and take a couple passes at it, completely off the cuff, or do you think at all about how you are going to approach the tune, how you might build an arrangement, etc.? Is it always a first take? I know you and I talked about this at the Vibes Congress last January (first takes in the studio are ideal!), but does that apply to this type of situation also, playing solo vibes? Do you ever start a solo tune, such as this, and stop in the middle if something doesn't work out the way you intended, and start over? Because any of us who endeavor to do this... play cohesive, well-executed solo pieces on vibes, know that's it's not so easy to play a five-minute piece on solo vibraphone, with lots of nuance and hopefully very few clams! Curious how you approach it.

David Friedman Tue, 10/27/2015 - 03:48

In reply to by anthonysmith

Hi Anthony,

I didn't really prepare anything. Years ago I played this tune quite regularly with various bands and, of course at jam sessions. So I know the tune pretty well but was inspired by all the posts about the tune on the site and wanted to contribute my musical 2 cents. Plus, I just got the Tascam DR-05 and I love it and have been recording myself like crazy the past week or so. The sound on this little thing is great and there are even various reverb choices, one of which I used on this recording. AND it's extremely user friendly!
To be honest, I recorded about 5 versions because I was constantly dissatisfied and there was even one version where I played an extensive vamp at the end on F minor using various variations, which was really happening and then by accident I played an F MAJOR chord and was totally pissed off because I didn't know if it's possible to edit (I still don't.) so I discarded the version. You're right. It's extremely difficult to play a long solo piece without f-----g up!
This version was, I think number 2, which proves my personal theory, which we talked about, that the first couple of versions are generally the better ones, especially in terms of spontaneous creativity.
Generally I'm so critical of my own playing that I usually hate the way I sound when I record myself.
Upon listening back, the one thing that I was happy about, if I may say so,is the the consistent dynamic clarity between the melody and accompaniment.
This is very important to me and something I'm always talking about with my students.

tonymiceli Fri, 10/30/2015 - 16:28

yo david!

i love it. I'm sitting here listening to it with annie! it's beautiful!

i personally like how your runs and arpeggios sound so (hate to use the word) gorgeous!

annie is saying you have a beautiful touch (then she said she's not talking about vibe playing, WTF!!!!!)

tonymiceli Fri, 10/30/2015 - 16:35

i like the diminished thing on the beginning

and i like at the end the 2 5 1 instead of the Db7

x