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Composed by Reynold D. Philipsek
Copyright Zino-Rephi Music BMI
All Rights Reserved
Guitars by Reynold
Acoustic bass by Matt Senjem
The title is taken from the typical beatnik or bebop musician look. The music is essentially a minor blues but the changes go through some channels that are a bit more out of the typical pattern.
The whole point of the piece is to convey the laid back jazz groove that first attracted me when I was a kid.
This should appear in the LA Jazz Scene online publication, but it won’t be until December. When that happens I’ll post a link to the review. Until then, I wanted to share.
Reynold D. Philipsek
Reynold D. Philipsek has always loved overdubbing his guitars to create warm and varied musical landscapes. He began on the guitar when he was nine, joined the Musicians Union at 14, and has released over 40 CDs of his originals since 1989. While he has spent periods playing rock, his main focus in recent years has been jazz and Django Reinhardt-style Gypsy jazz. Among his main influences are Django, Johnny Smith, and Joe Pass although he has long had his own sound. Because he is based in Minnesota, he is not as famous as his talents deserve.
On Picture This, Reynold D. Philipsek performs 11 of his originals; six of them played solely by himself. While one song, the moody “Someday Maybe,” finds him joined by keyboards, bass, percussion and harmonica, and four other songs are duets (or a trio) with bass, keyboards, accordion, and/or percussion, the main emphasis throughout is on Philipsek’s guitars.
The concise performances are musical sketches that set moods and rhythmic patterns while creating a variety of colorful ensembles. The opener, “Bohemian Flats,” is both hypnotic and rockish while “Chrysanthemum” finds the guitarist creating more of a Django Reinhardt sound although the song is more modern. “Tango Blue” is a slightly eccentric electric tango. Philipsek switches to mandolin on “Silesian Mist,” jamming over assertive rhythmic patterns played by bass and percussion. “Someday Maybe,” which has Clint Hoover’s harmonica in the ensemble, is a touching and wistful ballad.
“Matka” has Philipsek playing a fluent lead over his guitars and Denny Malmberg’s accordion, “Goatee and Shades” is a swinging minor-toned blues in which the leader’s Djangoish guitar floats over Matt Senjem’s bass while “Rara Avis” (a relative of “Bye Bye Blues”) sounds like a piece that Reinhardt could have written in the mid-1940s. The vamp piece “Vienna Blues” (which not too surprisingly has some bluesy playing by the guitarist), an energetic and danceable “1969,” and the melodic “Pavane” conclude this fine outing.
Picture This is an excellent all-round showcase for Reynold D. Philipsek’s guitar playing and writing, serving as both a recommended acquisition for his fans and an introduction to those who are not familiar with his talents.
~Scott Yanow, jazz journalist/historian, and author of 11 books including The Great Jazz Guitarists.
Halloween has always been a special time for me. In October of the
I recently wrote and recorded “Afraid of the Dark” as my most recent homage to Halloween, though the song really has a somewhat deeper meaning. Please click on the attached link below to view and hear the new video and song. This is my third and last video single of 2019. Pass on the link if you like it.
Composed by Reynold D. Philipsek
2019 copyright Zino-Rephi Music (BMI)
Guitars, bass, and voice by Reynold, with keys by Gregg Inhofer, and drums by Beth VarelaAudio, produced by Reynold and Stymie Seamans
Video produced by Airburst Entertainment
Join Reynold and Matt Senjem for a special St. Cloud performance at Bo Diddley’s on December 6th. The performance starts at 7:30 pm and tickets will be available on Brown Paper Tickets. The cost is $14.00 and seats are sure to sell out fast. So, be sure to visit Brown Paper Tickets to get yours. https://m.bpt.me/event/4409714
I’m at an interesting point in my musical life. A turning point. I’m trying to figure out exactly what my musical personality is. Some might say this is a mighty late stage to be figuring that out but it is what it is. I do think I have made my very best records in the past ten years. The best moments are the musical moments when I keep things simple and organic. The bigger productions I have done are not all that bad, and some are very good, but I am most in my element when my emphasis is on just projecting the basic idea in a very real and elemental way.
The two musical autobiographies I am currently reading have brought this dichotomy to the fore in a real way for me. I am reading (simultaneously) “Testimony” by Robbie Robertson and “Anyone Who Had A Heart” by Burt Bacharach. I love the music of each of these guys but you couldn’t have two more different approaches to music.
Robertson is a Canadian who in his youth traveled the “chitlin circuit” in the early
Robertson first played with Ronnie Hawkins and the Hawks which later morphed into The Band. As it states in Wikipedia, “The Band’s music fused many elements: primarily old country music and early rock and roll, though the rhythm section often was reminiscent of Stax– or Motown-style rhythm and blues, and Robertson cites Curtis Mayfield and the Staple Singers as major influences, resulting in a synthesis of many musical genres.” This approach appealed to me a lot and I had two albums by The Band in my collection by the time I was 17. I liked it’s “realness.”
Burt Bacharach, on the other hand, is the epitome of a Hollywood songwriter. But his musical sophistication and harmonies were all over the radio in the
Since I like both of these artists but they produce such different music has been a problem I have had in general. My records display all of these elements to a certain degree. As a general rule, recordings have more success if they have a more homogenous result. I have ignored that quaint old “rule” but I would probably do it all over again because that was the path of my journey.
However, in the end, the more organic “rootsy” approach feels more comfortable to me. Still, I won’t reject a certain “Bacharachian” harmony or time change even if it happens to occur in one of my tunes.
I guess what I’m saying is that the more “show biz” aspects of the typical performers of Burt’s songs aren’t something I could find myself applying to my own stuff. The exception to this is Elvis Costello who co-wrote a fine album with Burt. Elvis Costello, who is
I will from here on in, try to bend my music more toward the more organic approach but, as I said, I won’t shy away from a hint of a more urbane sophistication either.