Fire on the Mountain - Terrapin Outtake

[rv_bass]

I was playing along with a bunch of different versions of Fire on the Mountain from various years and came across an outtakes version from the Terrapin Station sessions; that version is in A not B.  A little glimpse back at its evolution, wonder what led to the switch.  I’ll check some of the earlier 76 versions and see if they are the same.   Just thought that was kind of cool.

[edwardofhuncote]

I've been playing along lately with Scarlet Begonias > Fire on the Mountain from May '77. It strikes me that the vocal ranges are being pushed on both of those songs in B. (especially the bridge on Scarlet) Maybe they were just trying A to see if it worked out better?


Great tune. One of my favorite Phil exploratories lately.

[lbpesq]

You can also find Bird Songs in both D and E.  As a vocalist, I just don’t understand some players’, (usually non-singers), reluctance to change keys.  My guitar has a far wider range than my voice!

Bill, tgo

[cozmik_cowboy]

You can also find Bird Songs in both D and E.  As a vocalist, I just don’t understand some players’, (usually non-singers), reluctance to change keys.  My guitar has a far wider range than my voice!

Bill, tgo

The capo is my friend!

Peter

[rv_bass]

Bill, Ray Brown (great jazz bass player) advocated learning to play all tunes in every key.  That way not only are you ready regardless of the key called, but it really drives home the harmonic relationships of the chord structures of the tunes.   

[lbpesq]

I got to see Ray play with Shelly Manne back in ‘73 or ‘74.  The man could play!

Bill, tgo

[edwin]

Bill, Ray Brown (great jazz bass player) advocated learning to play all tunes in every key.  That way not only are you ready regardless of the key called, but it really drives home the harmonic relationships of the chord structures of the tunes.   

Definitely good advice and pretty standard for the jazz world. It's good for string players, but a real workout for horn players.

[glocke]

Bill, Ray Brown (great jazz bass player) advocated learning to play all tunes in every key.  That way not only are you ready regardless of the key called, but it really drives home the harmonic relationships of the chord structures of the tunes.   

Definitely good advice and pretty standard for the jazz world. It's good for string players, but a real workout for horn players.

its a work out for string players also..