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 Song Review 
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Post Song Review
My homework assignment from Steve A: Review the particular song of his like a musicologist to test my understanding of applied music theory. I didn't think I would end up writing an entire page, but I did. I also offer this to anyone writing challenging music in exchange for giving me the chord structure.

Today, we study the song "Like Jeff" by Steve Adelson, a premier Chapman Stick player of the first generation post inventor, Emmett Chapman. Before listening, the audience must consider the title. Is this a command statement (You, like Jeff), a commentary (I like Jeff), or an adjective phrase (similar to Jeff). Truly, they are not mutually exclusive, but the best answer is the latter, in the style of Jeff. Now that the first word is understood, the second is due its analysis. Which Jeff? It is reasonable to assume it must be a musician, not a politician, as Steve would not play in the style of Jeff Sessions. So which musician? Here we are mandated to listen to the song. Jeff Berlin is out, as the bass line follows the standard 80s system of driving eighth notes on the root. This bass system has the disadvantage of being boring on its own, but advantages of setting a rhythm, tempo, and defining the root. In doing so, the composition is more open to exploring melody and harmony without muddling the clarity of what the chords are. The root is defined and there is plenty of space for other instruments to layer without clashing. Due to the style of the piece, recognizing Steve's background as a guitar player, and that he told me so, the musician in question must be Jeff Beck. So there we have it, this song is an exploration of playing Chapman Stick with accompaniment in the style of Jeff Beck. Circling back, we can recognize this same type of bass system used on "The Pump" by Jeff Beck.

If we refer to the previous paragraph, this author stated that the simple bass lines allows for understanding the chords easier. This is a bit necessary since many of the chords are stacked, or polychords. In using these polychords, it is important to recognize there is also a melody hidden within. The song starts slowly with backup on percussion and piano. The mixture of piano and percussion give elements of harp sounds, which blend well against the sustained Cm11 resolving to an Ab maj 7 9. The phrase continues with Gm7 resolving to Eb maj 7 9. I call this resolution in that the melody features a call and return motif where a major three note ascending pattern (note, half step, whole step) pauses to be answered. This major sounding melody occurs over a minor chord in both cases, which causes a bit of tension without significant dissonance. This feature is used against the percussion and piano or against the bass pump as well to cause a push-pull effect, where the melody is pulling the listener to stop, but the accompaniment is pushing the song forwards.

The use of slide and alteration of melody rhythm give repeated patterns a fresh feel. The use of distortion on the soloed melody gives an extra-sonic layer, such that the melody does not sound like the same instrument as the bass side of the Stick nor does it sound like the chordal introduction. The choppy half speed piano gives another rhythmic reference point opposite the bass side of the Stick. The use of half step transitions in the bass side allows for a tasteful motion between Gm ad F in the B section of the song. Chordal extensions are stolen during the solo by Rachel Z for enhanced flavoring in a piece that is not driven by explosive power, but by slow, controlled strength.

Since Steve is a master of music theory (MMT), there is no expectation that the connection between melody and chords will yield a simple result of knowing which song the key is in, if the key changes, and if any "rules are broken for a reason" - credit Tony Levin for this phrase. Based on listening to the melody, it appears the Bb major scale is employed, but then we strike upon the Ab maj 7 9. Ab is not in the key of Bb major, but is a flatted seventh. Cm is normal against a Bb as are Gm and Eb. Interestingly enough, Bb also never appears as a chord, but the melody frequently pauses on the Bb, initially hidden by chords. The melody in the [A] section alternately begins on D and on C which are the ii and iii of Bb. In the parallel minor, using a natural minor scale, Ab maj 7 9 would be quite reasonable. We can interpret the song to mean that the parallel minor is employed for expressing the Ab maj 7 9.

Moving to the [B] section, the melody begins with G first over Gm, then F, Eb and the Cm F. This appears to be a key change to Gm, but could also be considered to be a key change to Cm. [Editor's Note: This isn't technically a key change at all.] This open progression allows for the soloist to make more choices about what to do with the chords in regards to scales and extensions. Steve and Rachel both take these opportunities. The layered piano solo leading into the [A] section is a nice touch. The piece ends on a whimsical melodic upturn with piano in opposing motion, giving the listener a feel of day dreaming, much in tune with the album title "Sonic Imagination".

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Daniel Marks
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Sat Jul 29, 2017 1:48 pm
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Post Re: Song Review
You should chart the tune out, and post some playing clips of your analysis...

I transcribed this whole tune, it's a really cool composition. We could compare notes! Steve and I talked about it a bit in our lessons also. I never really listened to Jeff Beck that much before, Steve really opened my ears to Jeff's stuff.

Anyways, the drums are just not working on this song. Something is definitely not "gelling" in my opinion between the bass line and the percussion; it is a shame because it is a really cool composition... gotta fix that.

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Sat Jul 29, 2017 3:29 pm
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Post Re: Song Review
Listening to this tune tonight and reviewing my transcription...

What's really interesting is if you listen to his melody side work there's lots of rhythmic anticipations that are pretty unique to Steve's playing. Tied notes, phrasing over the bar-line; That kind of gets lost in my opinion. At 2:44 there's a really interesting bit that should be heard, but gets drowned out by those dog-shit hi-hats. Also, there's a shwack of ghost-notes in the LH bass (like under the piano solo) that are just getting fucking KILLED by that drummer...

Lol, can't get past the drum/bass relationship on this tune. But a great tune nonetheless hahaha

Can't be that crazy groove machine-guy garbage can percussion genius that plays on "Trio of Hot Club of Mars"... Can it?

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Sat Jul 29, 2017 7:21 pm
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Post Re: Song Review
Since that trio is based in Vancouver, I kinda doubt it is the same drummer. I thought the drummer had valuable accents in the beginning, but then I just subconsciously lost track of him for the rest of the song. I thought of it more as percussion than drumming, since the bass has the rhythm setting and tempo setting covered. Rachel and Steve's playing definitely works together with or without the percussion.

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Sun Jul 30, 2017 4:53 am
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Post Re: Song Review
sagehalo wrote:
Since that trio is based in Vancouver, I kinda doubt it is the same drummer. I thought the drummer had valuable accents in the beginning, but then I just subconsciously lost track of him for the rest of the song. I thought of it more as percussion than drumming, since the bass has the rhythm setting and tempo setting covered. Rachel and Steve's playing definitely works together with or without the percussion.


To my ears, it sounded like the drums were laid down last, I am not saying that anyone sucks on that tune, but there is a serious disconnect there; and it happens on a couple of other tunes on the album. If you can't/won't hear it, you are deaf or deluded. It can happen on a recording, especially in a studio setting where it's all about cash and people have to move along. One of the main reasons I am GEARED to record, I can demo my stuff on my own time, any time. I am free to experiment any way I want, and then take the DAW tracks to a higher level studio if I wish, although truthfully the only thing that bigger studios have that I would really take advantage of is 1) really dialled in rooms 2) pro engineers who understand mic placement, inductance and capacitance in regards to phase, as well as really, really good ears who have discriminating tastes towards "the mix". Not hard to come by, either.

In all honesty, I could also do without the "special guests" on Steve's recordings, as good as they are... I get that he's trying to do an "ensemble" light jazz thing, but as a listener and a fan, I'd like to hear more of Steve in a stripped down setting just him and his Stick. People who don't understand the inherent complexity of the Stick just don't 'get' that Steve is covering multiple roles at the same time, and will hear his melodic lines and maybe be a bit dismissive.

I recorded Steve playing chunks of this during our lessons (I recorded every lesson, and no you can't have it haha) and I am a BIG fan of the "off the cuff" version in the lesson.

There you go, truthful feedback from a paying customer.

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Sun Jul 30, 2017 8:18 am
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Post Re: Song Review
FYI
Tracks were all recorded in real time, 2-3 takes. Fixes, yes but the performances were honest. The drummer doesn't need a defense. Look up his drum duel with Rod Morgenstein.
And it's off point to state that a Stick recording should emphasize the difficult juggling of parts on instrument.
The goal of documenting and merchandisong your music should be to present something of sonic value. To dismiss players of the caliber of Oz Noy, Rachel Z, Frank Vignola and Chieli is ludicrous. When I produce music, live or recorded, the intent is expressive quality.
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Sun Jul 30, 2017 9:47 am
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Post Re: Song Review
Lee Vatip wrote:
FYI
Tracks were all recorded in real time, 2-3 takes. Fixes, yes but the performances were honest. The drummer doesn't need a defense. Look up his drum duel with Rod Morgenstein.
And it's off point to state that a Stick recording should emphasize the difficult juggling of parts on instrument.
The goal of documenting and merchandisong your music should be to present something of sonic value. To dismiss players of the caliber of Oz Noy, Rachel Z, Frank Vignola and Chieli is ludicrous. When I produce music, live or recorded, the intent is expressive quality.
.


Here we go again. :D

I am not dismissing anybody's talents, just saying that I like your playing better by itself. Not being negative or attacking anything, just speaking my mind.

Your recording has issues to me time-wise - take a listen, you know it's true. I don't care who the drummer is, I'm sure he's fantastic - this recording is not a great display of time keeping in my opinion. Bass player and drummer were not in sync, just the way it is. And yes, all your friends are great, I didn't say they weren't. Just because we love Alicia Keys, doesn't mean we always want her on a solo Tuck Andress album right? Sometimes we wanna just hear Tuck? So yeah, your friend had a duel with Rod Morgenstein. So what? On what planet does THAT mean anything to anyone besides someone who will be impressed by a name drop?

Anyways, It's still a cool tune.

The Stick is an orchestra, and really that doesn't come across in an ensemble that well sometimes, specially if time is a bit whacky. It's true, sometimes certain settings are better for some instruments than others;That's all I meant. If someone didn't know better, they'd think your lead playing was a guitarist... The "expressive quality" may be you hearing something in your recording that other people don't. I like the tune, but don't fish for analysis of your music if you can't take people's impressions of your works. Don't release music for sale if you can't deal with people having specific likes and dislikes about certain qualities of said release. I like some of it, and some of it I don't. Not the end of the world Steve, and my opinion is not going to affect your sales.

By the way, what's ludicrous is that someone of your calibre dismisses an honest opinion of your music; I get feedback all the time about my playing, gives me something to work on you know? Wouldn't share it if I didn't want it. Regardless, I look forward to your next release!

Just opinions, Steve. We all get to have 'em.
Have a nice day! I gotta go jam now!

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Sun Jul 30, 2017 11:15 am
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Post Re: Song Review
Oh you two! Get a room and hug it out. Interestingly enough, Steve did not comment to defend his playing, but Frank Bellucci's.

Seriously, though. Since the drumming is a big point, I went back and listened specifically for it. I have to say, there are points where the drums seem to be hitting just after the "bass". Normally this would not be super-critical, except that the "bass" is playing a very straight line, in which any rhythmic disturbance can be troublesome. It's also a pretty empty drum pattern, which may be by design. Part of the complication may be that the melodic pattern is intentionally off the simple rhythm, which may have distracted the drummer. I'm not questioning the drummer's talent, only this particular take, and in all fairness, Steve may have been trying to speed up away from the drummer. On a third listen, I actually think it was Steve not keeping tempo, but that was very subtle for me to decipher. The point being, they are not fully locked in, as Scott pointed out. It just wasn't quite as big a deal to me.

I still think this is a very listenable song as recorded due to the beginning percussion, Rachel Z's piano playing and of course, Steve's Stick playing. Without Rachel Z's counterpart and without the shimmering percussion in the beginning, it just wouldn't be the same song for me. It would be a bit too empty.

It's an interesting conundrum about what should be emphasized in live vs. recorded music. In live music, it can be very interesting to see how much a group can do with so little. Rush employs this concept (hey Alex Lifeson). String soloists who intentionally break strings employ this concept. A solo Stick player has no choice but to employ this concept. An audio recording can be a different beast though, since the performance is not visual. The first rule of an audio recording is that it is something that the target audience wants to hear more than once. All other rules are secondary.

For learning Stick, it is a great thing to see and hear what the Stick by itself can do. Scott presents this, but Scott also presents multi-track material. And I'm pretty sure he does that because it sounds good.

As usual, I'm not trying to anger anyone and as usual, I'm stepping into a quagmire. I hope at a minimum, the two of you (Steve and Scott) can recognize each other's points even if you don't agree and at a maximum that the community listens to the song, gets their own take, and can apply similar scrutiny to other music, including their own.

Well Scott, you said you wanted to discuss music... Sometimes it gets a little dirty, even without distortion and overdrive.

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Post Re: Song Review
Lol all good, I'd rather be discussing music than price comparing pedals any day!

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Post Re: Song Review
I enjoyed this analysis Daniel, I'll have to go back and listen to this again. Thanks for sharing.

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