FZ--guitar, voice
Tony Duran--guitar, vocals
Ian Underwood--organ
Sal Marquez--trumpet
Malcolm McNab--trumpet
Ken Shroyer--trombone
Tony Ortega--baritone sax
Alex Dmochowski--bass, vocals
Aynsley Dunbar--drums
FZ: Kenny, remember that part on that Frog Song?
FZ: Okay, now, the trumpets there are playing [...] This, the-- the [...] and trumpets in concert pitch, you can transpose it. It's just, uh, six notes that you gotta bend.
?: [...] this is written in concert pitch?
FZ: Yeah.
?: Second line is in bass clef?
FZ: Yeah, right. So just take, take those two upper parts.
And see if he's brought along a little bag for you . . .
?: You want this all played like this combination, right? With the flügel horn and trumpet . . .
And see if he's brought along a little bag for you . . .
FZ: How about-- Do you have a flügel with you?
?: I don't have it with me, but I've got it.
And see if he's brought along a little bag for you . . .
FZ: Oh, I'd like to be able to switch it off. Do you own a cornet?
?: Yeah, [...]
And see if he's brought along a little bag for you . . .
FZ: Yeah, cornet and flügel sounds good, I think. Better than trumpet [...] And, uh, there's some other things that are flügel horn against a D trumpet for the extra b***.
?: Yeah.
FZ: Okay? From the beginning. That vamp that you have there repeats I think about, twelve times? Twelve times, and then, in concert, there's two chords that are hit, C# minor and F# minor, and there you go with a rhythm like this . . .
FZ: So, now [...]
FZ: Let's hear that. One, two, three, four . . .
FZ: Nope. That only happens twice. Okay? Let's hear the, uh, horn section on that vamp figure. One, two, three, four . . .
FZ: Kenny--
?: [...]
FZ: One, two, three, four . . .
FZ: Kenny, listen . . . Pah, pa-ah, pah, da-ah-da . . . One, two, three, four . . .
Then he reach in the front
And dump a mile of sand
Across the rug, along the hall
Up to the umbrella stand
That you've been watchin' all the time
Watchin' all the time
And if a forest grows up
From the dirt on the floor,
That the frog with the satchel
Had just dumped beside the door
You're just starting to get worried,
You ain't going out no more
And it's confusin' to your mind--
FZ: Right. Now . . .
FZ: Okay? Right there, at that spot . . . "Confusin' to your mind." One, two, three, four . . .
Confusin' to your mind--
Just consider this:
FZ: Okay. Rah-ta-dah-ta-dah . . . Okay? Now, the next thing that happens. There, after that spot, you guys break, and it goes into this vamp, which sounds like this . . .
FZ: Okay, the notes for that in concert . . .
?: Phew!
FZ: . . . are: Bb, C, D, F#, G#, A, Bb; C, E, C#, D, Eb, and then down to a D. And the rhythm goes like this . . .
FZ: Be-bop, be-bop, bop-be-bop . . . Now, rath-- rather than take the time to actually work it out what the rhythm is for that thing, just listen to it and pick the tempo up . . . From the G.
You can be scared when it gets too real
You can be scared when it gets too real
But you should be diggin' it
While it's happening
FZ: Now, that's-- that's following that line of the, of the speech, which is, "But you should be diggin' it while it's happening," dun-tun, dun-tun, ta-da-dah-dun-tun, ta-da-dah . . .
FZ: Okay. Can you sketch out the figure that follows that? Here, listen-- The line that follows that is very even, starts on E, and goes . .
FZ: Okay? That's E, F, E-- E, F, E, Eb, F#, G, F#, F, and then the trumpets split to concert E on top, Bb underneath, and Kenny gets a, a B, below middle C . . .
?: [...] E and . . .
FZ: E and a Bb concert . . . And you're hitting a concert B . . .
?: Frank, play the line once more.
FZ: Okay.
?: I'm trying to get the rhythm of that . . .
FZ: All right.
FZ: One, two . . . I'll show you where it comes in. One, two, three, four . . .
FZ: Okay. You wanna try it from the G chord? One, two, three, four . . .
FZ: That's the sequence of events in here. After it does that . . . it holds that to a crescendo, and then it falls off and goes back to the G-- G passage again.
FZ: Dah, dah . . .
?: Okay.
FZ: Smear it down . . . Nyyaaoow . . . I'll show you where that comes in, it goes . . . Two, three, four . . . Two, three, four . . .
FZ: No. Pah-dah-tah-dah-tah-dah-daah, daah . . .
FZ: Okay? From the G chord the first time . . .
You can be scared when it gets too real
You can be scared when it gets too real
But you should be diggin' it
While it's happening
(Two, three, four . . . )
'Cause it just might be a one-shot deal
FZ: Make sure it's a solid resolution on that G chord [...] . . . Eeeeeeeoow, resolves . . . Okay? Do you play solos?
?: Me?
FZ: Yeah.
?: Yeah.
FZ: Why don't you improvise a solo on concert changes of G, D and E minor? [...]
?: G . . .
FZ: G.
?: D . . .
FZ: D.
?: E minor . . .
FZ: E minor.
?: Okay.
FZ: Okay.
?: G major.
FZ: G major, D major, E minor. Okay. This is the G chord the first time. One, two, three, four . . .
You can be scared when it gets too real
You can be scared when it gets . . .
FZ: No, that doesn't happen until after it goes tah-dah, tah-dah-dah-dah . . . eeeeeeeh! [...]
?: Okay.
FZ: Okay?
Tony Duran--guitar, vocals
Ian Underwood--organ
Sal Marquez--trumpet
Malcolm McNab--trumpet
Ken Shroyer--trombone
Tony Ortega--baritone sax
Alex Dmochowski--bass, vocals
Aynsley Dunbar--drums
FZ: Kenny, remember that part on that Frog Song?
FZ: Okay, now, the trumpets there are playing [...] This, the-- the [...] and trumpets in concert pitch, you can transpose it. It's just, uh, six notes that you gotta bend.
?: [...] this is written in concert pitch?
FZ: Yeah.
?: Second line is in bass clef?
FZ: Yeah, right. So just take, take those two upper parts.
And see if he's brought along a little bag for you . . .
?: You want this all played like this combination, right? With the flügel horn and trumpet . . .
And see if he's brought along a little bag for you . . .
FZ: How about-- Do you have a flügel with you?
?: I don't have it with me, but I've got it.
And see if he's brought along a little bag for you . . .
FZ: Oh, I'd like to be able to switch it off. Do you own a cornet?
?: Yeah, [...]
And see if he's brought along a little bag for you . . .
FZ: Yeah, cornet and flügel sounds good, I think. Better than trumpet [...] And, uh, there's some other things that are flügel horn against a D trumpet for the extra b***.
?: Yeah.
FZ: Okay? From the beginning. That vamp that you have there repeats I think about, twelve times? Twelve times, and then, in concert, there's two chords that are hit, C# minor and F# minor, and there you go with a rhythm like this . . .
FZ: So, now [...]
FZ: Let's hear that. One, two, three, four . . .
FZ: Nope. That only happens twice. Okay? Let's hear the, uh, horn section on that vamp figure. One, two, three, four . . .
FZ: Kenny--
?: [...]
FZ: One, two, three, four . . .
FZ: Kenny, listen . . . Pah, pa-ah, pah, da-ah-da . . . One, two, three, four . . .
Then he reach in the front
And dump a mile of sand
Across the rug, along the hall
Up to the umbrella stand
That you've been watchin' all the time
Watchin' all the time
And if a forest grows up
From the dirt on the floor,
That the frog with the satchel
Had just dumped beside the door
You're just starting to get worried,
You ain't going out no more
And it's confusin' to your mind--
FZ: Right. Now . . .
FZ: Okay? Right there, at that spot . . . "Confusin' to your mind." One, two, three, four . . .
Confusin' to your mind--
Just consider this:
FZ: Okay. Rah-ta-dah-ta-dah . . . Okay? Now, the next thing that happens. There, after that spot, you guys break, and it goes into this vamp, which sounds like this . . .
FZ: Okay, the notes for that in concert . . .
?: Phew!
FZ: . . . are: Bb, C, D, F#, G#, A, Bb; C, E, C#, D, Eb, and then down to a D. And the rhythm goes like this . . .
FZ: Be-bop, be-bop, bop-be-bop . . . Now, rath-- rather than take the time to actually work it out what the rhythm is for that thing, just listen to it and pick the tempo up . . . From the G.
You can be scared when it gets too real
You can be scared when it gets too real
But you should be diggin' it
While it's happening
FZ: Now, that's-- that's following that line of the, of the speech, which is, "But you should be diggin' it while it's happening," dun-tun, dun-tun, ta-da-dah-dun-tun, ta-da-dah . . .
FZ: Okay. Can you sketch out the figure that follows that? Here, listen-- The line that follows that is very even, starts on E, and goes . .
FZ: Okay? That's E, F, E-- E, F, E, Eb, F#, G, F#, F, and then the trumpets split to concert E on top, Bb underneath, and Kenny gets a, a B, below middle C . . .
?: [...] E and . . .
FZ: E and a Bb concert . . . And you're hitting a concert B . . .
?: Frank, play the line once more.
FZ: Okay.
?: I'm trying to get the rhythm of that . . .
FZ: All right.
FZ: One, two . . . I'll show you where it comes in. One, two, three, four . . .
FZ: Okay. You wanna try it from the G chord? One, two, three, four . . .
FZ: That's the sequence of events in here. After it does that . . . it holds that to a crescendo, and then it falls off and goes back to the G-- G passage again.
FZ: Dah, dah . . .
?: Okay.
FZ: Smear it down . . . Nyyaaoow . . . I'll show you where that comes in, it goes . . . Two, three, four . . . Two, three, four . . .
FZ: No. Pah-dah-tah-dah-tah-dah-daah, daah . . .
FZ: Okay? From the G chord the first time . . .
You can be scared when it gets too real
You can be scared when it gets too real
But you should be diggin' it
While it's happening
(Two, three, four . . . )
'Cause it just might be a one-shot deal
FZ: Make sure it's a solid resolution on that G chord [...] . . . Eeeeeeeoow, resolves . . . Okay? Do you play solos?
?: Me?
FZ: Yeah.
?: Yeah.
FZ: Why don't you improvise a solo on concert changes of G, D and E minor? [...]
?: G . . .
FZ: G.
?: D . . .
FZ: D.
?: E minor . . .
FZ: E minor.
?: Okay.
FZ: Okay.
?: G major.
FZ: G major, D major, E minor. Okay. This is the G chord the first time. One, two, three, four . . .
You can be scared when it gets too real
You can be scared when it gets . . .
FZ: No, that doesn't happen until after it goes tah-dah, tah-dah-dah-dah . . . eeeeeeeh! [...]
?: Okay.
FZ: Okay?