Here’s a video of Harry Connick and the band play Come By Me. Listen for the 5/4 bar in his solo to offset the audience’s 1/3 clap accent to the more appropriate 2/4! Also watch the drummer in the back at around 0:43!
Here’s a video of Harry Connick and the band play Come By Me. Listen for the 5/4 bar in his solo to offset the audience’s 1/3 clap accent to the more appropriate 2/4! Also watch the drummer in the back at around 0:43!
I enjoyed the performance. I was fascinated by Harry Connick Jr.’s piano solo, which filled up the stadium without the aid of his band. In addition, the trade-offs between the brass section and the piano provided a new take on the basic head and livened up the audience. This performance reminded me of swing music from the forties.
Dang, that was awesome. The clapping definitely messed me up the first few times I heard it; I kept on trying to feel the 2 and 4 but the clapping kept on bringing me back to 1 and 3. It’s pretty amazing and shows what a great pianist he is to keep his rhythm in check all the while moving on with the song. Drummer was definitely relieved to hear that all was right with the world again.
While I doubt the other members were placing any pressure on him to “fix” the clap accents, the only one who could have fixed this would have been him, since during that moment he was playing all the parts–base, rhythm, harmony, melody. It would have been a lot more difficult, if not impossible, to coordinate that with the other members during other solos with accompaniments. It seems like there would be a lot of pressure being the pianist but also a lot of freedom–like you said, I think just how easily he did it, shows his proficiency
Ok, in all honesty, it took me a while to understand what was happening rhythmically. I could tell something was off, but then I realized it was the audience. Then I had to go back and listen a few times to find where he amazingly fixes the problem. And also, this isn’t really a musical comment, but I think it’s so interesting that audience didn’t notice how wrong they were or that they just witnessed something pretty clever. Also what I enjoyed was the pianist’s inclusion of different styles. In his solo, he had a great boogie-woogie feel to it, most likely because of that bass line. Then when the band comes it, he seems to take a harsher style, that reminded me a little of Monk with a thicker texture.
That was very cool. I’ve never seen someone do that live and seamlessly. They make a joke about it in the song “Brotherhood of Man.” I thought it was neat that he used technique-heavy, classically originated motifs in his solo. The falling arpeggio figures reminded me of a Schubert piece I’ve played.
That’s awesome. I think the part of the video that you mentioned gives us a glimpse of how incredibly talented professional musicians like him are. Having the presence of mind to make that rhythmic change in the middle of his solo shows that he views the audience as part of the music. He also demonstrates that he has a complete “feel” of the music, and knows exactly how he wants it to be played. Great find!
Man, what a performance! Harry Connick Jr’s makes it look easy. His band was also tight. I’m going to have to listen to more of Connick’s music.
I enjoyed this video. The displacement thing was pretty cool to see happen…it didn’t even seem like he was trying to do that, so that’s more amazing! I thought things got really interesting once the whole band kicked in. He seemed to be playing incredibly straight 8th’s with his right hand, which created a cool texture with the straight-ahead swing that the rest of the band was playing. Additionally, I thought his faces at the beginning just showed how much can be communicated from band-member to band-member without speaking a single word – everyone seemed to be operating on the same wavelength. Dig it!