Melted Pumpkins: A Baroque Novelty - by Tom Brier & Eric Marchese (2001)
This ultra-rare piece by ragtime legend Tom Brier has likely never been recorded before, even by the composers themselves. Enjoy this unique, seasonal ragtime romp!
It should go without saying that Brian and Danny are two of my idols.
Brian, being the true gentleman that he is, invited me up to play. The camera on my phone simply can't do this Bösendorfer justice, but it certainly was a treat!
I struggled along with Bohemia, and I can't thank Brian and Danny enough for having me play and making it such an unforgettable experience.
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https://www.youtube.com/watch?v=bELpyp2BxjM
This is the first part of an album I made called Mockingbird from the way back when of 2005.
It was the 4th and final is a series of albums from early 2005 that I made as a result of getting my hands on a quality DAW (pro tools) for the first time. This also just so happened to coincide with my being a passionate 19-year-old college dropout with a fierce motivation to create.
The result is a raw but powerful vision into that tumultuous and even otherwordly time of my life. Shortly after recording this, my laptop died and I lost the ability to use a multi-track recording studio for several years.
This video contains the first 3 tracks of the album...the first, Air à Faire Fuir, is by the brilliant French composer Erik Satie.
The second, For I'm Far, is based on a lovely guitar lick written and performed by my high school buddy Johnny Plastini.
The third, Petticoat Junction, was written and recorded (along with For I'm Far) in April 2005 when I took a solo trip up to the mountains for that purpose. The photos from this video are from this trip.
The remainder of the album will be forthcoming...
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https://www.youtube.com/watch?v=vRAX4CRsGtw
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written 22-8-22
lyrics:
one summer day I got the news
hip hip hooray now shake off these blues
the time has come the tyrant’s gone
it’s been so long our lives he steered
for forty years he led us all astray
along a trail of toxic tears
so long Tony you always were a phony
now the whole world knows he peddles loads of baloney
go try and hide you can lock yourself right up inside
double mask your face it’ll help you drown in your disgrace
you’re a liar your pants are on fire
your drug’s expired
I bet you’d like to fly up to the moon
too late nice try you ain’t immune to the truth
you made us sick it made ya rich
but there’s a catch karma’s a bitch
you’ve met your match sit back relax
and take a sip this poison isn’t quick
so long Tony you always were a phony
now the whole world knows he peddles loads of baloney
go try and hide you can lock yourself right up inside
quadruple vax your veins it’ll help you drown in your disgrace
sayonara you can try and run far
but we’re here to remind you
your crimes will catch up and find you
you’ve lost your function
and gained not even an ounce of compunction
you lied to Congress
you can’t keep up this facade for much longer
you little snake
you big fat fake
go straight to jail
so long Tony
I wouldn’t wanna be ya
so long Tony
just you wait and see
so long Tony
how you’re gonna be treated
so long Tony
when you’re judged by history
so long Tony
gee I wouldn’t wanna be ya
so long Tony
just you wait and see
so long Tony
how you’re gonna be treated
so long Tony
when you’re judged by history
so long Tony
so long Tony
buh-bye
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https://www.youtube.com/watch?v=RcOTSKr3Sfo
Here's my version of Tatum's Tiger Rag--the music of which was first written by the Original Dixieland Jazz Band in 1917.
Tatum's earliest "Tiger Rag" rendition was recorded in 1932, and a few later versions also survive. From his Wikipedia article,
"Tatum's meteoric rise to the top began with his appearance at a cutting contest in 1933 that included [Fats] Waller and others. Standard contest pieces included [James P.] Johnson's "Harlem Strut" and "Carolina Shout", and Fats Waller's "Handful of Keys". Tatum was victorious, presenting his arrangement of "Tiger Rag". This was considered by Harlem musicians to be Tatum's ultimate contribution to stride piano, and taken as the most astonishing and original that would probably ever appear, in many respects, despite being an arrangement."
This is definitely not a note-for-note attempt--because the fact is, no one can play it like he did--but instead this is my take on it, an approximation and homage.
To learn this I studied two different transcribed versions, and listened to three different recordings, and sort of mixed them all together, added my own touches, and voilà, here's the result. The arrangement I studied the most (as it's the most accurate) was transcribed by Brent Edstrom.
this piece was exhausting to learn, but infinitely rewarding, as is all of Tatum's music.
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https://www.youtube.com/watch?v=AZJDpUJACQo