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November 4, 2004:

TINKLING THE IVORIES

Bruce Kimmel Photograph bk's notes

Well, dear readers, I must write these here notes quickly, for soon I shall be heading into the recording studio to record some songs from the musical featured in my new mystery novel, Writer’s Block. I must practice the piano parts, as I get very nervous whilst playing the piano when it’s being recorded. I’ve allotted two hours for me to lay down five songs – luckily they’re all fairly short. Then our wonderful singers come in and we do vocals for two hours. Then, in a week or so, I’ll go over Vinnie’s and see if we want to add anything to the tracks or if we just mix the vocals and be done with it. This is the first time I’ll have been in the studio with Vinnie since a year ago last July, when he came in for the final mix of the Jeepers Creepers album. We’ll be at a studio we’ve used quite a bit here in LA, Westlake Audio. I’m afraid I won’t get any writing done today, unless I knock out a page or two when I return to the home environment. I’ll only be home for an hour or two and then I must meet a friend for some supper. Isn’t that exciting? Isn’t that just too too?

Last night I watched the new DVD of a motion picture entitled Ragtime. I know opinions are divided as to the worth of this motion picture but I have always loved it from the moment I first saw it. It’s marvelously directed by Milos Forman, well-written by Michael Weller (from the novel by E.L. Doctorow), and the cast is to die for, just perfection everywhere you look. Great performances from Mary Steenburgen and James Olson as Mother and Father, Brad Dourif as Younger Brother, Elizabeth McGovern as Evelyn Nesbitt, Mandy Patinkin as Tateh, Kenneth McMillan as the man-you-love-to-hate, Conklin, and even Debbie Allen, whom I normally don’t care for, but who’s very good in this film. But my favorite performances are, first, Howard Rollin as Coalhouse Walker, Jr. I believe this was his first film and he’s astonishing in it – a real star performance and you know it the minute you see him. And second, Mr. James Cagney – it is so wonderful to see him on the screen again (he hadn’t done a film in twenty years – since One, Two, Three) and the magic is still there in spades. Even the smallest parts are cast brilliantly – Jeff Daniels as a cop, Pat O’Brien, and even Fran Drescher as Tateh’s cheating wife. I also love Randy Newman’s simple and effective score. I’m not sure what to say about the transfer. The elements they went from are obviously pristine and look great. But in many scenes it’s just a bit too soft (it wasn’t in the theaters), which is unusual for Paramount. Still, even with the softness, the images are lovely. There’s a commentary track (haven’t listened), and a look back documentary which is so boring it almost put me to sleep. The most interesting extra is a really long deleted scene which would have come immediately after Tateh throws his wife’s clothing into the street. The scene introduces Emma Goldman (I couldn’t recognize the actress playing her), who first confronts Tateh about throwing his wife out, and then takes Evelyn up to her room, undresses her, all while Brad Dourif is watching, hidden in a closet. It’s a totally weird scene and thank goodness they took it out, but it’s fascinating to watch.

What am I, Ebert and Roeper all of a sudden? Don’t I have to go practice the piano parts? Why don’t we all click on the Unseemly Button below because I must tinkle those ivories.

I’ve also been through the first four episodes of Broadway: The American Musical, and I must say I am completely underwhelmed. I’ll have more to say about it when I finish the final two episodes. In fact, I’ll have plenty to say about it.

Have I mentioned that I must tinkle the ivories? Wait a minute. One doesn’t tinkle the ivories, does one? I think I meant “tickle” the ivories. If one were to tinkle the ivories, well – I don’t want to think about that. I’ll think about that tomorrow. But if I tickle the ivories won’t the ivories laugh? Can someone help out here, please, and tell us the proper expression and where said expression came from? Now we’ll see how many people read the notes, won’t we?

Well, dear readers, I must take the day, I must do the things I do, I must record songs, I must either tinkle or tickle the ivories, I must – has anyone ever noticed that “must” anagrammed is “smut” – I must have supper, and I will try to knock out a page or two, although what the page or two ever did to me to deserve being knocked out I have no idea. Today’s topic of discussion: Since we’re discussing the ivories – what are your favorite solo piano pieces – classical and otherwise, and what are your favorite pieces for piano and orchestra. And who were/are your favorite pianists – classical, pop, and jazz? Let’s have loads of lovely posts, shall we? We shall.

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