Gorgeous and intriguing interplay Jon. You never cease to amaze. Durge

Salut John ! I have red your description(without googlelito translation). It’s hard for my lonely neurone… But: « Impossible n’est pas Français™». Bon, d’abord, vous êtes tous deux superbes sur la photo. On voit et on ressent l’Amour… Bon je reviens au Ricain… Superbe composition! Great contrepoint. Totally you. BUT (for me)… May I? Yes we can™! The sound of the brass seems taken from Logic®… And it’s a little plastic sounding, maybe with some plugs… Maybe I’m too critical. Oh Yes. And the mix too in the middle. Bon, je sors avant d’être téléporté en enfer. Ton ami, Laurent. Qui revient doucement vers la musique après la mort de sa maman… Sorry, Love you two. PS: Miss Place… Good title! Beautiful is she!! J’irai écouter tes autres dernières musiques bientôt…

beautiful liner notes, your love for music comes out from the headphones

Thank you!  I’ve really enjoyed this song and listen to it often ❤️

Your description is very interesting.  I do hear some Duke Ellington influence.  Since I like both jazz and classic rock, I was intrigued by this sentence "There's also some willful changes from major to minor in the harmony that are classic rock ideas."  I'm curious if you could elaborate.  Since Jazz and classic rock both have the blues influence, they both have a tendency to use both the major and minor third.  But I guess by a "willful" change you have in mind say a chord substitution by a relative or parallel minor--which brings to mind the Beatles, Eagles, Pink Floyd and others.  That would certainly be done in jazz as well, but perhaps it would get lost as a subtlety amid all those additional chord extensions, whereas in classic rock it would be a lot more punctuated and noticeable and therefore more characteristic of classic rock than jazz.  Am I on the right track?

Great sound ..of yesterday's...😊✨✨👍

I totally gotta try more stuff like this.  Love that base, and i’ve wanted to do more horn arrangement stuff - now i’m inspired!

At some point, a long time ago, I gave up on creating a "new" musical language. It was still possible, in the late nineteen eighties and early nineties when I came of age, for me to see music as a linear progression. In my early twenties I would compose pieces that I thought of as new jazz. Of course they weren't. Just very individual songs in older styles with some ideas for other styles. A dash of Duke Ellington arraignment, a snippet of Monk perhaps a teaspoon of Syd Barrett mixed with some rock and roll harmony. Eventually, after a long pause in playing at all, I came to make music, I see as, more in line with the pop artists like Warhol and, especially Lichtenstein. My own musical ideas are still there but slyly inserted into pieces that are consciously, imprecisely, modeled on other works or styles. Anyway I went to see the new version of West Side Story with my wife the other day. The original show made right before that "pop" era. It was so sincere. No irony with an honest attempt to bring musical theater "forward". I so enjoyed it even if it's a bit middle brow Americana. I'm writing this description in hopes of being equally sincere. The melody borrows a bit of "Somewhere" as a tip of the hat. I hope. My big musical ideas, besides that, are as follows. The key may sound a bit vague at times but floats between B major, E major and A major so that classic one four five, if somewhat buried. the time signature changes a few times, briefly, and syncopates when it doesn't. There's the Syd Barrett influence for those keeping score. There's also some willful changes from major to minor in the harmony that are classic rock ideas. Even if, in this context, they eventually become key changes. Well that's enough sincerity. Oh except for the photo. It's Miss Place. My wife maiden name and me back when I would have written something like this. ;)

Miss Place

I'm a conceptual musical artist but the concepts are vague and I'm not willing to explain them.

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