Also see: Moog Information ~ The Nice ~ Emerson, Lake & Palmer
From: Mike Flemmer <>
I'm sure many of you here feel like I do that Keith Emerson is the best rock
keyboard player of all time! Keith's accomplishments in the 70's is truly an
amazing variety of highly acclaimed works. After collecting vintage ELP on video
and CD's, I have been blown away by what I have been seeing- an amazing variety
of technical skills and achievements! After I told my sister he was 'the
greatest', I realized I would have to back up my statement with facts. So I
started to create a list of Keith's musical abilities. This list is growing
fast! However, I have probably neglected something that I may have over-looked.
Everyone is invited to add to the list- if you can think of anything I may have
missed. Everything on the list demonstrates one of Keith Emerson's expert
musical abilities or accomplishments! (Being familiar with ELP's first 4-5
albums is recommended) I have divided the list into two parts: 'As A Musician',
and 'Keyboard Techniques'. A piece that demonstrates the ability is in
parenthesis.
Keith Emerson's abilities as a musician:
1. playing the piano (all albums)
2. playing the electronic organ (most albums)
3. playing the pipe organ (The Three Fates, Pictures)
4. playing the synthesizer (most albums)
5. playing the accordion (C'est La Vie)
6. playing the zoukar (The Endless Enigma)
7. playing rock (most albums)
8. playing classical (Pictures, Works, Vol1)
9. playing jazz (improvisations)
10. playing blues/honky tonk (Honky Tonk Train Blues)
11. arranging/writing rock (most albums)
12. arranging/writing classical (Toccata/Piano Concerto No1)
13. arranging/writing jazz (improvisations)
14. arranging/writing blues/honky tonk (Tiger In A Spotlight)
15. improvising rock (live concerts)
16. improvising jazz (live concerts)
17. improvising blues/honky tonk (live concerts)
18. performing as member of an ensemble (all albums)
19. performing as an accompanist (all albums)
20. performing solo (all albums)
21. writing orchestrations (Pirates)
22. teaching and lectures (workshop video)
23. pioneer of incorporating the synthesizer in rock/pop music (Lucky Man)
24. pioneer of playing a synthesizer in live performances
25. historic first recording of a poly-phonic synthesizer (Jerusalem)
26. performs unique stunts during live performances (360o spinning piano,
jumping over organ)
27. understands music history, music theory, music notation, and composing 'on
paper'
28. music writer/director for movie soundtracks (Inferno, Nighthawks, Best
Revenge)
Keith Emerson's keyboard techniques:
1. basics- scales, arpeggios, chords, legato, staccato
2. counterpoint
3. single hand, single note 16th notes (Karn Evil9)
4. piano string plucking (Take A Pebble)
5. left hand solos (Karn Evil9 in concert)
6. playing a keyboard backwards or upside down (live concerts)
7. one finger slides (single note pressed during the slide) (many examples)
8. hand slides (several notes are pressed during the slide) (Pictures)
9. extended hand reach (hands can play larger than an octave)
10. sudden leap to another octave (sometimes several octaves) (Barbarian)
11.rigid hand (holding a fingering position stiff) (Barbarian)
From: Peter Wilton <>
>Yes, but master Keith's studio version isn't the dox bollox, too quick &
hectic, with some bum timings and even one or two bum notes!
That's often the case with him, though it's somewhat better in that respect than
the live version.
>Keith main prob's that he tends to play too technical, almost always trying
to show how great his technical skill is.
Yes, he doesn't often try the "lyrical" approach to piano playing. With the
exception of the odd moment in Endless Enigma, and more extensively in Lachesis,
he tends to apply the Bartokian percussive approach to lyrical romantic-style
material.
>Out of interest, is there any piece of Keith Emerson with another
Keyboarder or Guitarist of the top class ?
The occasion that springs to mind for me would involve digging out some
television archives, but Oscar Peterson did a TV series with a different
keyboard-playing guest every week in the 70's, and Emo was the guest on one
occasion. They did a boogie together. The difference of approach between the two
was marked, Emo moving his body in time to the beat, Peterson much more static,
as if the independence of a "lyrical", melodic style of improvisation from the
beat was more important than emphasising conflict of rhythmic and time. During
their "chat" on the programme, Emo seemed rather in awe of the Master, and they
seemed to be constantly talking at cross-purposes!
From: "Jeff Marx" <>
>> np: Keith Emerson (always the Master) - Changing States
>1996 release... is it an OST?... where can you find it?
>This is available at the Artist shop under new releases:
>O.S.T.-Keith Emerson's HARMAGEDON
>Can anyone comment on the content and quality of these Emerson releases?
I can comment on Changing States as it is a '96 release from AMP Records.
Sound quality here is excellent as it's a regular digital, high-quality release.
The 10-track album was recorded in California in 1988-89 with Keith backed by
guitars/drums/bass/vocals/ (including Marc Bonilla on guitar) as well as the
London Philharmonic Orchestra on a rendition of Abaddon's Bolero (recorded in
England I assume).
Several of the cuts wind up on "Black Moon" including Another Frontier (becomes
Changing States), and Montagues and Capulets (becomes Romeo and Juliet). There's
also a great version of The Church (ala La Chiesa). Keith excels on piano on his
highly stylized take of Gershwin's Summertime.
Great Hammond and synth work abound on this album and I think it's Keith's best
solo outing since "Honky."
From: Errol Allahverdi <>
If you are an Emerson fan, you may just agree with me that this CD is definitely
worth having in your collection. Just for Summertime and The Church alone.
Abaddon's Bolero is interesting in that real orchestral instruments were used
instead of synths.
From: Peter Wilton <>
>Anyone know where I might find: The Nice: Five Bridges? I have the 'KE with
The Nice' CD which includes much, if not most, of >the Five Bridges CD (I'm
especially interested in the Dylan track, >Country Pie). Anyway, I can't seem to
find it anywhere. Anyone??
I had KE with The Nice, but gave it away after having found both Five
Bridges and Elegy on CD. Both had bonus tracks, which were taken mainly from the
remix release in the early 70's Autumn '67-Spring '68.
From: Mark Fonda <>
And, speaking of Keith Emerson, his CHRISTMAS ALBUM is a real pleasant
surprise!! Very tasty keyboard/bass/drum renditions of some traditional
Christmas songs. Definitely my kind of music for the holiday festivities!!
From: "Surjorimba Suroto" <>
Re: 'Inferno' ... From what I remember this album was really a soundtrack album.
It was not like soundtracks these days when you just compiled songs from
different artists, played on whatever scene you want (as the director) in the
movie and put them together in one album and sell them. Emerson played piano and
keyboards very beautiful, with strings and everything in the background. I never
watched the movie, but I could imagine every scene that each song tried to
reflect. You won't find any ELP style in this album, especially prog rock tunes.
But if you love piano and want to feel Emerson's playing (and of course movie
atmosphere), you will definitely love this album!
From: "Damien Costanza" <> I'm going to have to weigh in on this one. Keith Emerson was a "phenomenon" but the primary reason for this is not his technical virtuousity. Let's face it. Even at his best Keith was a bit sloppy. He certainly never had Rick's or Tony's precision. What made Keith a "phenomenon" to most of us "early" synth players was that he was the first truly "macho" keyboardist. The leather pants, the knives, wrestling the Hammond, the crotch firing ribbon controller...Keith was the first keyboardist to elevate the keyboard player from the nerdy, often balding, often hat wearing, less than cool sidekick to the axe wielding guitarists and the frenetic drummers to the level of alcohol swigging, take no prisoners, lock up your wimmen demigod. Do you think the slutty biker chicks wanted to go home and have sex with Rick. No way. While many of us loved the whole cape thing, most chicks probably found it a bit fruity. Moraz probably got some chicks but he could hardly be said to have stolen the spotlight, at any point, from Squire or Howe...or Hayward for that matter. Eddie Jobson weighed 75 pounds when he was with Crimson...OK maybe 80, nuff said. Tony Banks...shhhh! you might wake him. I think you get my point. Keith made playing keyboards sexy. He gave me hope as I was cranking up my Minimoog and my ARP Odyssey in 1978 that not only could I express my musical vision by creating these new and extraordinary sounds (God knows that Tony and Rick inspired my note playing more than Keith), but that I might also use these machines with a style, flair, bravado and a sense of panache which would allow me to heat up as many chicks as the guitarist, the singer and the drummer....and any of you bastards that tells me that chicks were never a consideration in deciding to play an instrument is a damn liar or a fool. This is why Keith was a phenomenon. Keith was a fine keyboardist, yes, but he was the first keyboardist to be a rock star as well.
From: "Steve Andersen" <> Subject: Re: Re: Emerson, keyboardists, etc.[was: Deep Purple!] To take the discussion a bit further, Emerson's playing is quite disjunctive compared to the rather more conjunct style of Wakeman. Ironically perhaps, Wakemans style is more "classical" in the strict sense of the word in that his melodies are more regular and conjunct. Emerson's style borrows more from Baroque, romantic and 20th century genres. My views on Emerson's music has a lot to do with my actually learning to play the stuff. The finger work in Tarkus-Eruption for example is fiendish at times. In an interview with a Yes band member (I forget who), the player wryly referred to Moraz as a "Swiss rock musician" with an insinuation that this was a glaring oxymoron.
From: "upnsm0ke" <>
Subject: Keith Emerson - Iron Man OST available tomorrow
Tomorrow is the official release date for two remastered limited edition CDs of
scores by Keith Emerson: *Iron Man* (the animated series) and *Nighthawks* (xlnt
early 80s crime film w/ Stallone & Rutger Hauer) No track lists are given on the
site. Each CD is $15.95, or you can order both together as a 'bundle' and save a
few bucks. You may as well, because the only shipping option is $5 Priority
Mail, whether you order 1 or 2...ouch, they must be taking lessons from Wayside
Music! To go to the Emo store direct, click on http://www.e-zstore.com/emerson/
This has been a Public Service Announcement. I don't even get Monopoly money for
this!