21 years ago, while I was still instructing, I set about learning Josie isolated in 3x 6-fret positions (0-5 frets, 5-10 frets, 10-15 frets). It sounded absolutely crazy but it wasn't about performance, it was an exercise in trusting myself with inversions no matter how they felt to the ear. I had worked out my own interpretation for solo performance that wasn't much different than what you present here. I didn't ring the G, slide the octave, or truncate individual chord tones in the intro, it was a bit more straight forward in that aspect, but the most of it was what you have there on. The solo is nearly impossible, as per the record, in the most favored positions unless you really work out a set of note substitutions (not unlike chord substitutions) based on Carlton's harmonic structure; fourths when appropriate, followed by fifths and occasional flat fifths to keep the flavor ''out'' like he does live. Kudos on making a document of the whole package with this video. I really dig what you did with it. There's room for many alterations from what you've set forth here and that, to me, is what it's all about - not making a final statement but laying out the central bones of it for others to branch out from. It's a daunting piece, from any perspective, especially the solo perspective. That said, once it is witnessed a few will stop saying ''OMG, that's not possible!'' and then set about proving it. Great job all round! Interesting choice of guitars to use for it, that action is so low but I can only notice it because of the room mic, through an amp it doesn't really translate as buzz. Love the Yamahas. I have a 1991 SA-1100 that simply sings. Love it.
Many thanks for your comment. Well spotted, the lapel mic is picking up the acoustic sound of the guitar, and the amp track is mixed in with it, of course when the lapel mic is not in use you get the full amp sound. I love the Yamaha guitars too, just wonderful instruments. Best wishes.
Brilliant Chanan - probably my favourite album of all time and Josie my favourite track on the album (narrowly!). So clever of you to incorporate both melody and rhythm on one instrument simultaneously. Thank you and keep up the great work!
fantastic - thank you. your interpretation lays bare the complexity of the piece, oh and the groove…. i appreciate your commentary at the end on your approach and decisions, surfacing the trade offs and challenges in integrating the melodic and rhythmic elements to weave the textures in your sonic tapestry.
Fantastic arrangement! Always an eye-opener to show how a song with plenty of complexity and independence in bass/rhythm/vocal parts can still be made to work really well on guitar (if you put in all the hard work!). That bass run that goes up over Am7 ("raw flame") ending with C# D always freaked me out slightly. I wonder what Chuck Rainey was thinking for this?
Ahh. Steely Dan. Beautifully harmonically complex. You`ve done an excellent interpretation as usual, I expect no less these days from you. Selfishly....how about Peg in due course ?
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Wow, freaking great. Love the chord voicings chosen throughout, masterful.
That was fire my brother
Beautifully handled. Your phrasing was sublime.
21 years ago, while I was still instructing, I set about learning Josie isolated in 3x 6-fret positions (0-5 frets, 5-10 frets, 10-15 frets). It sounded absolutely crazy but it wasn't about performance, it was an exercise in trusting myself with inversions no matter how they felt to the ear. I had worked out my own interpretation for solo performance that wasn't much different than what you present here. I didn't ring the G, slide the octave, or truncate individual chord tones in the intro, it was a bit more straight forward in that aspect, but the most of it was what you have there on. The solo is nearly impossible, as per the record, in the most favored positions unless you really work out a set of note substitutions (not unlike chord substitutions) based on Carlton's harmonic structure; fourths when appropriate, followed by fifths and occasional flat fifths to keep the flavor ''out'' like he does live.
Kudos on making a document of the whole package with this video. I really dig what you did with it. There's room for many alterations from what you've set forth here and that, to me, is what it's all about - not making a final statement but laying out the central bones of it for others to branch out from. It's a daunting piece, from any perspective, especially the solo perspective. That said, once it is witnessed a few will stop saying ''OMG, that's not possible!'' and then set about proving it. Great job all round! Interesting choice of guitars to use for it, that action is so low but I can only notice it because of the room mic, through an amp it doesn't really translate as buzz. Love the Yamahas. I have a 1991 SA-1100 that simply sings. Love it.
Many thanks for your comment. Well spotted, the lapel mic is picking up the acoustic sound of the guitar, and the amp track is mixed in with it, of course when the lapel mic is not in use you get the full amp sound. I love the Yamaha guitars too, just wonderful instruments. Best wishes.
Outstanding! Great use of keyboard voicings on guitar.
Thank you!
Such a great interpretation.
Thank you.
I had Pretzel Logic and Royal Scam on repeat at work all day.
👍
Outstanding. Again!
Thank you.
Amazing! 🙌
Brilliant Chanan - probably my favourite album of all time and Josie my favourite track on the album (narrowly!). So clever of you to incorporate both melody and rhythm on one instrument simultaneously. Thank you and keep up the great work!
You're welcome Simon, and thanks for watching.
fantastic - thank you. your interpretation lays bare the complexity of the piece, oh and the groove….
i appreciate your commentary at the end on your approach and decisions, surfacing the trade offs and challenges in integrating the melodic and rhythmic elements to weave the textures in your sonic tapestry.
You're welcome and thanks for watching.
Amazingly good!👍
Thank you Martin.
Fabulous, as per. Such a great channel…
Thank you very much.
Steely Dan are Sophisticated with a touch genuine satire. Genially conceived music.
Fantastic arrangement! Always an eye-opener to show how a song with plenty of complexity and independence in bass/rhythm/vocal parts can still be made to work really well on guitar (if you put in all the hard work!). That bass run that goes up over Am7 ("raw flame") ending with C# D always freaked me out slightly. I wonder what Chuck Rainey was thinking for this?
Many thanks Howard.
Bravo Chanan, that was incredible.....the improv at 2:31 is so tasty & beautifully played.
Thank you so much! Best wishes.
Beast ! 😛
tremendous, funky AF
Many thanks!
Chanan..I forwarded this video to Rick Beato... let's see if he mentions you.
❤
What gauge strings are you using? They sound a bit loose, or too low. Great interpretation, as usual, Mr. Hanspal.
zappa gauge
@@williamlosch what!!!? 7's??? I know Frank used 7's sometimes. They're like Hen's teeth, though.
Ahh. Steely Dan. Beautifully harmonically complex. You`ve done an excellent interpretation as usual, I expect no less these days from you. Selfishly....how about Peg in due course ?
Thanks for your comment. Yes, "Peg" is definitely something I'd like to have a go at.
❤️🌹❤️
Nice playing. Looks rather complex to play.
Thank you.