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BOTM 2014/06 - Lover Man

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Long time no talk, so, I decided I'd give this ballad a bash.. Tricky bridge, I have to say I never played this one before today and this is my first recording with my new vintage mpc.. Guess the MPC ?? 🙂 Anyway, opinions welcome, and if you have any tips regarding soloing over this baby, I'd be grateful if you would share. Kind regards and hope you enjoy.. https://soundcloud.com/merv-says/loverman
 
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That was interesting. To my ear there is very little difference in sound between the three models. Perhaps the Yamaha is a little smoother but it was good to see that the BW holds up well against the others. I actually prefer it to the Yani,

Clearly the old adage that it is the player and the mpc that makes the difference in tone does hold true.
 
Hey,

I hear a kind of "sweetness" the Bauhaus has, which I really like.
It feels the most freeblowing of all 3.
Unfortunately, it is slightly too big for my hands, whereas Yamaha and Yanagisawa fit perfectly.
The Yani 992 sounds the "fattest" to my ears, but I'm not sure if it is because I haven't played it for some weeks (using the Yamaha most of the time), or the MPC/horn combination, I am not satisfied with the output.

Cheers,
Guenne
 
That's not strictly true. The melody goes to A# but the arrangement calls for a G7. This gives the piece its flavour. So when improvising as you get there, if it helps to think Gmin to remember the A#/Bb that's fine, but to give the piece its character, running up a G7 and adding #9 will moody it up You can go with the harmony or reference the melody. The version I'm using has a G7#5#9 at bar 5. Very moody. All this in the Bb version of course. It is more apparent with an alto playing in the upper register and extending the chords upwards.
 
Sounds like G min to me. The bass player plays a Bb in that bar too (G, A, Bb). Try playing a G maj on a piano or guitar at that point in the tune or just hold the note B through measure 5 to see what I'm getting at.
 
I just listened to Colin's version and bar 5 is played over a G maj. Apologies for that, hadn't heard it before. The version I downloaded from the forum is the one I was referring to in my previous post. It sounds distinctly minor to me. I am familiar with #9s, eternalised by Jimi Hendrix, and am not averse to playing #9/ b10 against major chords. I was hoping to help less experienced players who have a tendency to doodle up and down scales and arpeggios as a basis for impro. For them a G7 symbol wouldn't help much; the bones of the piece are in the #9. The version I got says G7.
 
(Not that I can really play on this song yet, hence the lack of recording, but...)

I agree, you have to think "blues" in bars 5 and 6. The sudden change from ii-V's in bars 1-4 to G7 (with #9 in the melody) followed by C7 is what makes that moment so dramatic (notice how the #9 is right on beat 1). If you want to "doodle" on a scale there, you could try a G blues scale over both bars.

While I'm here, thanks to everone who's contributed this month. Sorry I haven't really joined in. I do like this song a lot (even more so after hearing everyone's takes on it). I'll try and learn it soon and maybe post a late recording.
 

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