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Pino Palladino


Guest Nore

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Oui faut pas se fâcher, il est pas au courant Palladino qu'on est des gros faisans qui ne l'imaginons qu'avec des blacks en train de se faire groover les burnes.

Je l'aime avec John Mayer personnellement et quand il venait à One Shot Not, c'était très très bon avec le Katché.

LowLO ? Moi aussi NIN ça me gave, on s'en cogne.

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*blague de conservatoire*

Après plusieurs réécoute, bah vous savez quoi ? Je suis pas loin de partager votre avis sur Pino dans NIN. Pour des raisons diamétralement opposées d'ailleurs: étant fan de NIN, j'apprécie le coté groove posé de Pino, et c'est adéquat sur les morceaux électros tirés du plus récent album qu'il a effectivement enregistré, mais sur les trucs énervés, je le trouve hors sujet, pas du tout dans l'esprit.

J'irais les voir en live au mois de mai, on verra sur pièces :)

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*blague de conservatoire*

Après plusieurs réécoute, bah vous savez quoi ? Je suis pas loin de partager votre avis sur Pino dans NIN. Pour des raisons diamétralement opposées d'ailleurs: étant fan de NIN, j'apprécie le coté groove posé de Pino, et c'est adéquat sur les morceaux électros tirés du plus récent album qu'il a effectivement enregistré, mais sur les trucs énervés, je le trouve hors sujet, pas du tout dans l'esprit.

J'irais les voir en live au mois de mai, on verra sur pièces :)

Salut,

faut regarder les credits, Pino Palladino est loin de jouer sur tous les morceaux de l'album ! Masi peut-être as-tu déjà vérifié Sven !

a+

EDIT sous forme de question subsidiaire : il n'y a pas un site qui répertorie toutes les participations/enregistrements de Pino Palladino ?

Edited by Ze bass
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  • 3 months later...

Extrait d'un entretien de d'Angelo du 21.05.2014 : (transcription intégrale : http://www.npr.org/blogs/MicrophoneCheck/2014/05/23/314883957/dangelo-im-trying-to-go-deep )


...So I brought Ahmir with me and you know, we get there, we can't do Johnny "Guitar" Watson because they have to be B.B. King songs. But I was in search, I was desperately seeking a James Jamerson aficionado or a James Jamerson — I even sought out his son.

GEORGE: Right; James Jamerson, Jr.

D'ANGELO: James Jamerson, Jr. And I was looking for someone who could really give me that and boom, I found him at the B.B. King session: Pino Palladino. That and from the Brown Sugar days, I'd always been dying — we had a mutual friend who kind of turned me on to his music and I used to listen to it a lot and I just loved his tone and been dying to work with Roy Hargrove. And we reached out and so I think those elements right there — that was it, man. That was the recipe

GEORGE: Yeah, Pino Palladino, he's been with you ever since. He's still with you.

D'ANGELO: Yes, he is. Yes.

GEORGE: How do you work — I mean, obviously Ahmir and you guys have this bond — cause you play so many instruments, I'm really curious how you weave in other musicians. You said a certain way you want to play it. Do you have them play exactly what you played? How much are they able to put themselves in?

D'ANGELO: They follow — I'll set the structure, or what have you. Whatever, however you want to call it. And then we follow that to a certain degree, but I do give them license to interpret it, you know. I mean, once you — when you working with musicians of that caliber, you can trust them to interpret it any way. Like Roy, I would just play it for Roy and let him just do what he does. And he would make the arrangements, do the horn arrangements, all right there. He's incredible. He's f—-ing incredible, man. And Pino pretty much would follow what I wrote, you know, for the structure of the song and then add his own interpretations in.

Edited by Nore
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