Like everything on my site, the World of Tuning will always remain 100% open-access and ad-free : however, anti-corporate musicology doesn’t pay the bills! I put as much into these projects as time and finances allow – so, if you like them, you can:
One morning he fit everything into place, flailed the opening guitar licks and sang, ‘It’s getting to the point, where I’m no fun anymore…'”. But it’s not winning me back‘”.Īs per Dave Zimmer’s CSN: The Biography, the accompaniment and final arrangement, “grew out of a group of acoustic guitar patterns… in what Stills has called ‘Bruce Palmer modal tuning’.
Collins later recounted her reaction to first hearing it, in a private hotel-room performance: “Afterwards, we both cried – and then I said, ‘ Oh, Stephen, it’s such a beautiful song. Though amicable, the separation had pained Stills in particular, leading him further into experimental songwriting sessions – and soon resulting in the oddly balanced exhortations of Judy Blue Eyes. The track arose from Stills’ reflections on a recently-ended relationship with Judy Collins, a razor-sharp singer and social activist five years his senior. CSN members have also used the tuning (+ close transpositions) on Déjà Vu, Word Game, Carry On, and Love the One You’re With (cp.4). Eventually, its airy chords became a symbol for its entire form, and for an outsider’s romantic vision of sunny, faraway places.Bruce Palmer’s tuning will forever be associated with Suite: Judy Blue Eyes – a bold Stephen Stills composition immortalised through CSN’s Woodstock performance in 1969, reaching millions via the concert film and accompanying soundtrack release. It’s the recording that brought bossa nova to an international audience in the popular imagination, singer, song and style all blended into one another (it’s a song about a girl who’s like a song, set on the beach of Rio de Janeiro). Her performance on the English translation of Jobim’s tune “Garota de Ipanema” was as natural and quiet as breathing. When jazz saxophonist Stan Getz collaborated on an album with a few of the architects of the new Brazilian sound, Gilberto suggested that his wife Astrud - who had never sung professionally - try her hand at a couple of tunes.
Bossa nova, in Portuguese, literally means “the new thing,” and the style that a group of Brazilian musicians including Joo Gilberto and Antonio Carlos Jobim developed in the ’50s was at least a new hybrid - part samba, part jazz, deliciously complicated but meant to be played with a touch so light that it seemed easy.
0 kommentar(er)
