Re: [Harp-L] Subject: The inimitable Toots Thielemans

[Joseph Leone <3n037@xxxxxxxxxxx>]

I was advised that an apology is in order. A very good friend advised me that my post may have seemed as if I were correcting someone. Not so. I was just trying to help with the conjugations. 
Conjugations play an important part in Italian language, as they use the same words for different things depending on the context of what is being discussed. That's why their dictionary is 3.4 times thinner than the English dictionary. lolol. 

I thought the query had to do with what the word 'elle' meant..in THIS context. Was it 'Life, how she passes', or 'Life, how it passes'? To be honest, I don't know what the composer meant, but it isn't inconceivable that it could go either way. 

Egli ha (he has), Esse ha (she has), Elle ha (it has), Egli hano (he had), Esse hano (she had), Elle hano (it had). And so on. (spcl note: the G in egli is ROLLED, pronounce it 'EL-YI'.). So, depending on how your pronunciation goes, the words Egli and Elle 'could' sound the same. Just accentuate the YI for egli and you're good to go. 

As for weaving your playing amongst the singers voice. We do it all the time BUT you need to be careful. First of all, I am not that great but the singers we have are used to my style and actually prefer me to do it. They know that I won't 'Bury' them. Whereas most singers would prefer you not to. And then there are those whom get disoriented. Hearing someone else's notes while they are singing their notes throws them off. Especially their timing (or 'milking') of their notes. I know a few harmonica players who have a tough time playing while others are playing. AND they get annoyed. Soooo, it's all adjustable. This is what being a side man is all about. You gotta use your head...and discretion. :)

Sooo, My deepest apology to Elizabeth of Scotland. I meant no harm. 

Jo-Zeppi 


On Feb 22, 2012, at 11:44 AM, Joseph Leone wrote:

> It's it. The conjugations go: Egli (he)  Esse (she) Elle (thing) 
> 
> 
> On Feb 21, 2012, at 6:35 PM, EGS1217@xxxxxxx wrote:
> 
>> Well said, John. What struck me is how this is a true duet between the  
>> vocalist and the harmonica 'voice'. Toots keeps playing throughout -  doesn't 
>> stop and allow the vocalist to be totally dominant (the way so  many seem to 
>> insist it's 'supposed' to be when playing accompaniment). He  weaves his 
>> chromatic around and through the singer's voice - adding so much to  the song - 
>> which, incidentally, I find especially poignant at this stage of  his life 
>> since I believe the English translation to be: 'Life, how  she(or it) 
>> passes'.
>> 
>> Elizabeth
>> 
>> PS: really dig Salvatore Adamo's voice. I didn't know of him before.
>> 
>> Message: 7
>> Date: Tue, 21 Feb 2012 11:36:13 -0500
>> From: John Kerkhoven  <solo_danswer@xxxxxxxxxxxx>
>> Subject: Re: [Harp-L] Subject: The  inimitable Toots Thielemans
>> To: EGS1217@xxxxxxx
>> Cc:  harp-l@xxxxxxxxxx
>> 
>> Great stuff... saw him & Kenny Werner just last  week. He's a gentleman and 
>> his playing is constantly surprising. I don't know  how he chooses his 
>> notes. He is no slave to melody but plays with the greatest  respect for the 
>> melody. Also what really struck me is the liberty with which he  and Werner 
>> play -- both individually and together. 
>> 
>> John
>> 
>>> No  one like Toots, here with Salvatore Adamo - dueting on:
>>> 
>>> 'La Vie  Comme Elle Passe'
>>> 
>>> 
>>> _http://www.youtube.com/watch?v=qbQ41zcjfK4&feature=related_ 
>>> (_http://www.youtube.com/watchv=qbQ41zcjfK4&feature=related_ 
>> (http://www.youtube.com/watchv=qbQ41zcjfK4&feature=related) ) 
>> 
>>> SO beautiful...
>> 
>>> Elizabeth
> 
>