Skip to main content

Chuck Leavell Unleashes the Beast

Y'all! Picture this: It's 90+ degrees, and the Georgia sun has been blazing down on me since noon, and now Chuck Leavell, the legendary Rolling Stones pianist, is hammering out a soul-stirring "Honky Tonk Women" solo right at the piano just feet away. And, readers, I GOT TO MEET HIM! This weekend at the Blind Willie McTell Music Festival in Thomson, GA, was unreal. Lots of great performances, and then there was Chuck—his show was phenomenal, and he was so kind when Dan and I randomly wandered to the artists' area to say hi!

Goodness, I am a sight with that sunburn. I couldn't stop smiling all day after this pic!

Chuck has been around for much longer than I've been even listening to rock & roll, so I guess I'm a bit of a latecomer. But I got to make up for some lost time this weekend! Here he is playing a bit of "Honky Tonk Women." The solo starts at about 1:04.

[Ugh, ugh, ugh. The video won't upload. Copyright issues, probably. Will try again later.]

He has been the keyboardist/music director for the Rolling Stones forever, and before that, he was with the Allman Brothers. He's played with a ton of other musicians, and my first encounter with his music was on Eric Clapton's Unplugged album, specifically his amazing "Alberta" piano solo.

I've been a member of Chuck's piano-teaching site, IROCKU, for a few months, and while I've incorporated some of the exercises (particularly for "Tipitina") into my technique work, mostly for rhythm work, I admit I haven't spent as much time there as I have at Piano With Jonny. I really need to spend more time at IROCKU! I think Jonny focuses more on enabling us to improvise, while IROCKU offers more in the way of rock/blues sheet music as starting points ... but I'm not sure. So I'll be exploring that some more in the coming weeks.

I was so inspired by Chuck's performance that I came home and played until I couldn't keep my eyes open anymore, despite being fried from eight hours at the festival. Here's a very rough take from this morning, messing around with "Honky Tonk Women." I mostly just reading chord names (G, C, D, etc.), playing by ear, and improvising. And this was the first time I've ever tried this song! (I kinda mess up on the chords in the middle, but I recover! Yay!)


I just printed out the IROCKU exercises for this song, which will help a lot with improvising solos. I'm watching the lesson videos over my lunch hour. I can't wait to get home tonight and dive into this!

Jonny May unlocked the door to my cage, and now Chuck Leavell has unleashed the beast! My piano future is bright with these two mentors (their teaching platforms, at least) in my life!

Comments

Popular posts from this blog

Eureka! Secondary Dominant!

I am such a nerd, and I love being a nerd! Today I was working on Section 5 of You Are My Sunshine, specifically on getting this section up to performance level. In other words, I was practicing being a performer , not an arranger . But then, of course, I came up with another idea. I had just played the delicate sixths and descending rag rolls of "when skies are gray" (I chord) and then moved to the parallel octaves of "you never know, dear" (leading to  IV). The shift sounded abrupt to me. Harsh. It needed something. It needed musical WD-40. Something to ease the hinge between textures. And then I stumbled upon it! Right before moving to IV, I can slip in a V7/IV — a secondary dominant! So I tried it, and it sounded so good that I actually yelled "Secondary dominant!" out loud in my house like I was Archimedes discovering water displacement in the bathtub. It's such a small thing. One little chord. But it smooths that transition, leaning the harmony ...

The Amazing Practice Tracker 2.0: Leveling Up My Piano Game

(Apologies for the cheesy clip art. I needed to come up with something, or the Blogger template would show a fuzzy, overly-enlarged snippet of the first chart below.) When I showed my husband my piano practice tracker, he said I should market and sell it. Ha. It’s not for sale, but I’m excited to share how this tool has transformed my practice—and why it might inspire all three of my readers. Since my last post about the Amazing Practice Tracker, I’ve made it even better. Here’s a peek at how it works, using my June data. All The Pretty Colors, All the Pretty Winners My tracker now sparkles with color: darker shades for active pieces, lighter ones for maintenance, technique, and sight-reading. Each day, the piece I practice most gets a bright yellow highlight—a little “gold medal,” if you will. (Click image for a slightly larger view.) A leaderboard automatically shows the day’s top piece and time. And if that isn't enough, I keep track of the month's leaders--specifically, ho...

The Tyranny of the Dots

In the Billy Joel documentary And So It Goes , Billy talks about "reading the dots." He didn't want—or need—to "read the dots," meaning the music notes on the page. He had developed his own rock 'n' roll piano style and, after a few years of classical training, he left the dots behind. I didn't want to read the dots, either, once upon a time. As a little kid, I had a good ear and could quickly figure out just about any tune on the piano. But in first grade, I finally started piano lessons, thus beginning my life with the dots. The Wall of Dots Between Me and Music I hated the dots! I wanted to learn them, sure, but it was so hard. If my teacher played what was written, I could play it right back for him. But if he asked me to play it from the dots, I felt like I would pop a blood vessel in my brain. It was so frustrating for my six-year-old self to have the code to a simple tune sitting silently before my eyes and not be able to crack it and bring th...