I find that these days, I love writing. Writing just about anything, with possibly my favoriite - writing music. I don't necessarily mean transcribing, or writing down the notes (although I do enjoy that TOO), but I mean composing, working through melodies, chord progressions and many times, lyrics. Somewhere in the mid 80s, I began a creative, yet academic, exercise of writing as many songs as I could. Being inspired by much of the good pop music of the time, and much encouragement from budding singer-songwriter communities, I was averaging one new song per month. Maybe no record output, but very satisfactory to me for my own purposes. Now, in my attempt to capture some old demos (from cassette tapes) to digital, I am discovering many nice memories from the past.
This tune was written purposely to utilize the romantic, simple, trite, english of tin-pan alley plus, expanding my production chops, I decided to perform it in a doo-wop style singing multiple vocal parts acapella.
This song came to me with music and lyrics after pondering Carole King's 'Natural Woman', chorus of which is paid tribute in 'Together'. What I enjoyed very much about the song is the lyrics which essentially are the textbook lesson of exactly what lyrics should be (ex: The moon in June and sweet perfume have been used in a million love songs . . . ) while actually in complete agreement with the lesson. The chorus then becomes the love song (can a love song NOT be somewhat trite? - maybe). . . 'We'll be together for a very long time . . . '
It was actually written quite a long time ago but I've always enjoyed the melody and changes and finally put it on "No Frills", more of which you can find out by following the hyperlink below.
More on. . . "this about a very young, at the time, gentleman whose effervescent personality exuded youthful unpredictability and enthusiasm for life. The music, at least I believe, makes a sincere attempt to capture that unpredictability, in its melody, chordal and rhythmic structure.". . .
The original version appeared on my first release, Chromatose, and you can hear it below.
. . . this about a very young, at the time, gentleman whose effervescent personality exuded youthful unpredictability and enthusiasm for life. The music, at least I believe, makes a sincere attempt to capture that unpredictability, in its melody, chordal and rhythmic structure.
(from http://theotherjournal.com/2008/09/16/the-monk-and-the-hymn-encountering-grace-in-the-work-of-thelonious-monk/)
". . . Each of us is continually involved in the co-creation of our story or the performance of our song. A song and a story alike are each common, apt metaphors for our lives, for living both as individuals and within a community. It is in the reality that we are all continually stumbling our way through life that the beauty and truth of Monk’s intentional awkwardness with this song (This Is My Story, This Is My Song) becomes evident. His characteristic discordant notes and unconventional timing are so appropriate as a symbol for our own lives. It aptly expresses our own imperfect faith, our own inconsistent story. . . I hope that I can tell my story in a way that contributes to the story, in a way that offers redemption to the broken world around me, yet my stuttering tongue and broken heart often keep me feeling useless and futile. I want to be able to play my song in a way that points to the beauty of the Kingdom, but my clumsy fingers seem to ruin the power of the melody. It is here that Monk’s performance offers me hope and inspires me within my own believing unbelief, in my own “already, but not yet” song. . ."
NOTES! . . . actually. They are the notes forming intro and the turnaround, which fuels this medium-slow tempo tune, devised to promote improvisation on the descending chord pattern of D minor, C major and B flat major. The pattern allows a formidable amount of freedom yet restricts just enough to encourage melody within the structure.
My latest solo offering, No Frills, is now available at - No Frills
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
I had the pleasure to add a piano melody to this movement from Jay's 'Ahora' suite, which is creatively simmering to perfection under his watchful eye (and ears). With some motivation ("What's my motivation Mr. DeMille?") and the free time to devote one's undivided attention without the pressure of other commitments, the process of feeling the music and using one's imagination to add a melody that positively supplements the beauty of the basic music is at the same time intriguing, challenging, gratifying . . . and fun!
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak. Please Visit http://www.ohomusic.com
My latest solo offering, Just More Music by Ray Jozwiak, featuring original, instrumental piano music is now available at - Just More Music by Ray Jozwiak
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
(from www.wikipedia.com)
". . . Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August 1969. [Miles]Davis called the musicians to the recording studio on very short notice. A few pieces on Bitches Brew were rehearsed before the recording sessions, but at other times the musicians had little or no idea what they were to record. Once in the recording studio, the players were typically given only a few instructions: a tempo count, a few chords or a hint of melody, and suggestions as to mood or tone. Davis liked to work this way; he thought it forced musicians to pay close attention to one another, to their own performances, or to Davis's cues, which could change at any moment. On the quieter moments of "Bitches Brew", for example, Davis's voice is audible, giving instructions to the musicians: snapping his fingers to indicate tempo, or, in his distinctive whisper, saying, "Keep it tight" or telling individuals when to solo.
Davis composed most of the music on the album. The two important exceptions were the complex "Pharaoh's Dance" (composed by Joe Zawinul) and the ballad "Sanctuary" (composed by Wayne Shorter). The latter had been recorded as a fairly straightforward ballad early in 1968, but was given a radically different interpretation on Bitches Brew. It begins with Davis and Chick Corea improvising on the standard "I Fall in Love too Easily" before Davis plays the "Sanctuary" theme. Then, not unlike Davis's recording of Shorter's "Nefertiti" two years earlier, the horns repeat the melody over and over while the rhythm section builds up the intensity. The issued "Sanctuary" is actually two consecutive takes of the piece.
Despite his reputation as a "cool", melodic improviser, much of Davis's playing on this album is aggressive and explosive, often playing fast runs and venturing into the upper register of the trumpet. His closing solo on "Miles Runs the Voodoo Down" is particularly noteworthy in this regard. Davis did not perform on the short piece "John McLaughlin". . . "
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