From cwsg@sevush.com Mon Aug 02 05:48:53 2004
Subject:RE: WAS Re: CX-3 VS. XK-3 LESLIE-ING now is Reese Wynans

It's definitely not something most of us would do, but I would think - like
playing left hand parts independently - over time it might become easier to
do. There are times we can play the first w/our left hand and do a scale in
a different key. Not the same, of course, but given we get the effect we're
looking for, anything's possible to master.

Pure speculation, but perhaps Reese was not even aware of the power/cycle
mod box and that's why he played the B3 "as is".

> It's just plain strange no matter how you look at it. Say
> Stevie calls for blues shuffle in B...you know he just says
> "In B boys!", not "We gonna do this one in B, but since we're
> tuned down a half step, it's really Bflat, but keep yo
> fingers in the B positions!" Nope...
> But here's where it REALLY gets strange....
>
> Pick any song from In Step. The arrangements got a little
> more colorful on that record. So if you take say
> "Crossfire", the bass riff is a pentatonic E move. The
> guitar and Hammond double each other on the hook, in Emaj.
> The "horns" (Reese playing his M1) answer that riff with
> chord stabs on A and E. Now picture him playing this live.
> His left hand is playing in E (because his non-Hammonds are
> already tuned down 1/2 a step) and his right hand is playing
> in Eflat to double Stevie, and then he grabs the M1 (already
> tuned down a half step) with this right hand in between those
> doubled guitar figures to play A and E...then it's back to
> playing Eflat on the Hammond.
>
> I'm sure the reason he kept the Hammond at 60cycles (to keep
> it tuned) was that it probably sounded a little strange with
> the tuning drifting, or maybe he was worried the slower motor
> speeds would affect the life of the Hammond parts (I don't
> know that this is true, it's just an assumption). But for
> me, I don't have that kind of left brain/right brain
> independence to play 2 different keyboards in different keys,
> a 1/2 step away from each other. (I doubt it's even a
> left-right brain thing, but WHATEVER it is, I sure don't have it!)
>
> Truly peculiar!
> T
>
> Dan S wrote:
> I remember hearing that, maybe read the same article. I
> suspect he did that
> so if SRV was in the key of.. whatever, he would *play* in that key on
> everything BUT the B3 and then transpose, keeping it "in" the key SRV
> called.
>
> > ACTUALLY......
> >
> > Reese was a total freak: he used the transpose functions on
> > his non Hammond keyboards to drop things a half-step, but
> > played his Hammond "as is." So to demonstrate, if Stevie was
> > playing "Superstition" in E (fingerings that is...his guitar
> > was tuned down a half step, so his fingers were in E but his
> > guitar was in Eflat), Reese was playing his non Hammond
> > keyboards in E (his Juno 106 and Korg M1 and Roland RD1000
> > dropped down to Eflat) but played his Hammond in Eflat.
> >
> > Why he would intentionally play one keyboard in Eflat and the
> > rest in E is totally beyond me, but there you go. (I got this
> > info from a Reese interview in Keyboard magazine a while back.)
> >
> > T
> >
> > Dan S wrote:
> > SRV played heavier gauge strings and dropped down a half
> step. So not
> > *everything* was in Eb, but if he was in E, keys (Hammond)
> > would be in Eb.
>
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