The greatest living B3 virtuoso. Joey's modesty forbids him saying the big Hammond is an absolute bear to play. It has to be wrestled to the ground. But when somebody like Joey makes it capitulate, what follows is the music of the spheres.
@@claytonwalter8700 agreed - exceptional relative pitch comes from what he was doing from a very early age, listening and playing back what he heard - making a few mistakes along the way, but constantly rinse-tuning his ears. The earlier a child starts doing this, the greater the aptitude they have for the type of learning Joey describes. Of course, it depends on their natural aptitude (it can vary greatly) to discern one or more (simultaneous or serial) note(s) from the next, so that what is heard becomes “tangibly real” as the mind hearing so quickly and accurately instructs fingers (and feet for an organist) in real-time to play the notes heard. Now, his prowess on trumpet (and later saxophone), is proof of not just exceptional aptitude/ears/work ethic, but of his personal commitment/requirement to master new musical challenges, as he could have instead just used sampled instruments and his virtuosity on keyboard to achieve some satisfaction in sounding a little but like a sax or trumpet. But for him, fidelity to not just the general sound concepts of the instrument, but the challenge in mastering it (the only way to faithfully produce the nuances expert players create) mattered greatly.
@@modelprisoner Sure. Fair request. When I met him after a gig and politely asked for an autograph, he gave me a contemptuous look, as if I were a peon not fit to, say, press the clothes that swaddled his rotundity.
woah woah woah woah woah woah woah woah. woah. you just said the little 2 octave piano isn't a real instrument.....my good man you and I should sit down sometime and I will show you just how wrong that statement is. there is no shame on saying you started on a keyboard like that. the web goes deeper though. you're Joey Defrancesco so you are entitled to your opinion more than most average folks, though I must say if yee were a lesser man I would be insulted by the statement that those 2 octave keyboards don't count. everything can be MIDI chained my friend.
Such a great musician and down to earth person! Still shocked to read that he died yesterday at 51. R.I.P. Joey
The greatest jazz organist of all time. RIP, Joey.
He had such a gift and a great personality and spirit too. So glad he left some great recordings. Thanks for the interview!
The greatest living B3 virtuoso. Joey's modesty forbids him saying the big Hammond is an absolute bear to play. It has to be wrestled to the ground. But when somebody like Joey makes it capitulate, what follows is the music of the spheres.
Maybe you can find work as a hagiographer.
Loved your work with Pat Martino Think Tank
What a great guy , RIP man .
Great video......cool guy......great talent.....RIP 🎹🎹🎹🎹🎹
I just love this type of interview. Allows non-musicians like me to get a little deeper into their souls.
Yes! This!
Love this! I could listen all day.
A True legend
Missing you big time Joey D. Hope you and Jimmy Smith are up there jammin
Still can’t believe he’s gone…
R.I.P
my dad did exactly this and i never picked it up. damn i wish i had.
Great!
Perfect pitch, no other way .
You don't need perfect pitch on a keyboard; it's pitch is constant.
@@claytonwalter8700 agreed - exceptional relative pitch comes from what he was doing from a very early age, listening and playing back what he heard - making a few mistakes along the way, but constantly rinse-tuning his ears.
The earlier a child starts doing this, the greater the aptitude they have for the type of learning Joey describes. Of course, it depends on their natural aptitude (it can vary greatly) to discern one or more (simultaneous or serial) note(s) from the next, so that what is heard becomes “tangibly real” as the mind hearing so quickly and accurately instructs fingers (and feet for an organist) in real-time to play the notes heard.
Now, his prowess on trumpet (and later saxophone), is proof of not just exceptional aptitude/ears/work ethic, but of his personal commitment/requirement to master new musical challenges, as he could have instead just used sampled instruments and his virtuosity on keyboard to achieve some satisfaction in sounding a little but like a sax or trumpet. But for him, fidelity to not just the general sound concepts of the instrument, but the challenge in mastering it (the only way to faithfully produce the nuances expert players create) mattered greatly.
Wow! Love this insight.
#harnessthebeat🎶🎯
If, eets Gud its Gud
I met him once after a gig. He was one of the haughtiest jazz players I've ever met.
More info please
@@modelprisoner Look up "haughty."
@@keithfitzgerald876 know what it means but can you give example
@@modelprisoner Sure. Fair request. When I met him after a gig and politely asked for an autograph, he gave me a contemptuous look, as if I were a peon not fit to, say, press the clothes that swaddled his rotundity.
@@keithfitzgerald876 sorry to hear that
he is an outlier
yes he is , i can totally relate
Got the genes, he was meant to do no other.
woah woah woah woah woah woah woah woah. woah. you just said the little 2 octave piano isn't a real instrument.....my good man you and I should sit down sometime and I will show you just how wrong that statement is. there is no shame on saying you started on a keyboard like that. the web goes deeper though. you're Joey Defrancesco so you are entitled to your opinion more than most average folks, though I must say if yee were a lesser man I would be insulted by the statement that those 2 octave keyboards don't count. everything can be MIDI chained my friend.
he said it was a toy piano.
lol I was thinking the same thing
lol this guy needs some ear training for sure, he said a "TOY" piano.
its a toy. get over it.
45 years ago
MIDI was not prevalent especially for children when Joey was learning. So your statement is way off base and narrow minded