@@AdamLevyGuitarTips I guess I’m a Levite?! Here’s my now vintage version Tennessee Waltz on an upside down B25 for your listening pleasure: ruclips.net/video/lZMpkZX-3Xo/видео.html
“Come Away With Me” solo is one of my favorites ever - easily in my top 5. The feel and phrasing are exquisite, especially that part where you hesitate. And the double stop is icing on the cake. The length is perfect too - say what you gotta say and then move on!
This is awesome, listening to one of the guitarists on, undoubtedly, my all time favourite record, talk shop. What I like most however, is what he says 16 minutes in or so, it really highlights for me the depth of Norah's understanding of music, when he said that she said to him "it's not quite right" in regard to his playing of Jessie's original guitar segments that Jessie taught him. And the explanation of why, and his realisation of it. Just, well, that's real music right there. This is actually really helpful. I'm a bit worried about my youngest version of the Come away with me album. It's 10 years old or so and, well, I have concerns about it's condition, and this is edging me closer to getting the anniversary edition. Anyway, Adam Levy, if you read this comment I just want to say you are appreciated, good sir. Thank you for being a considerable part of that whole thing for what has to be 7 years or so? That music, those albums, and the wonderful singer you supported, are and will continue to be important to me, which means you are important, to me. Wishing you the best good sir.
So great to know that you were the one who played the solo on Nightingale. One of my all time favorite solos. Its like a small song in a song. So simple and perfect.
Great video. Really love your vibe musically and conversationally. I first became aware of you on the Austin City Limits show where Norah was wearing the navy blouse with white polka dots. One of my favorite live shows of all time. PERFECTION… Norah is quite the piano/ keys player. Her style is hard for me to describe in words, but it reminds me of the old Floyd Kramer’s style. Anyways, I have always felt and my wife agrees that I have a similar approach as Norah but on guitar. You are a lucky man, my all time dream would be to jam with Norah. She came to my hometown in Juneau Alaska a couple years ago and played a show, and our community was just really dazzled by her. Such a great show. Everything that Norah does is just so very tasteful.
I remember seeing you guys play in San Diego. You were playing a tele and a Princeton reverb. That was the beginning of my obsession with guitar tone. The next week I bought a 67 Princeton for $500. Best gear purchase I’ve ever made.
My intro to Adam was seeing him backing Norah on a live TV performance. One solo in particular blew me away and prompted me to seek out Adam's work. Great artist!
I could take this album to a desert island. It's just loaded from one end to the other with great musicianship. I'm a guitar player but oddly enough I'd say The Nearness Of You might be my favorite performance on the whole album.
I was curious about this actually, because this is where I first encountered your playing, and your name! You have a very modest, helpful approach, which is refreshing.
It was great fun playing the tracks along with your commentary and listening in more detail for all the textures you talked about. This adds so much more appreciation for the craftsmanship when listening to an album that was already one of my favorites. Thank you Mr. Levy.
You first came onto my radar when I saw a video of a particular live performance of Come Away with Me - Norah was playing a Guild semi-hollow electric, and you were playing a Telecaster into a small Fender - your solo was absolutely beautiful. It’s my favourite version of the song that I’ve heard.
You absolutely changed how I approach playing guitar. I used to want to be a shredder, listening to all the Blues greats and wanting to solo like a madman, but then I watched a performance years ago of you playing with Norah and a bassist as you referenced here, and I thought, anyone can be a soloist, but this guy knows how to fill the pocket without overcrowding the song. Years later, I play in a band that will either play as a four piece (bass, drums, two guitars and vocals with extensive harmonies), or just as a two piece (two guitars with vocals and extensive harmonies), and I have zero shame in saying that you showed me how this could be possible. You and Bill Frisell are on my list of people that I really want to create with, someday.
This record came out a year before I was born and my mom was a fan so I grew up listening to it extensively on CD. The solo to "Come Away with Me" is the first I learned to play and it drove me to look up your name in the liner note haha.
Great video. Makes me want to put on my good headphones with this LP tonight. One of the all time great records. I surprised my wife for her birthday and took her to see the tour stop at the Paramount Theater in Denver (August 2002 I think). One of my all time favorite convert experiences. Also, I really enjoyed your appearance on 5 Watt World the other day.
This was priceless, really. I actually bought and watched "House of Blues 2002" DVD before this album and dubbed it to VHS to avoid to loss bandwith. Then made it MP3 and it is still in my car' s playlist. "Come away with me" was not in this DVD. If I remember well, I am almost sure that you were playing all guitars on the stage so I didn't think this until now. It is very interesting to hear this. Thanks for this video, it's a great part of your history you shared with us here.
Thanks Adam, your playing on this album and on your live performances with Norah are outstanding. It's amazing to hear such a beautiful guitar work on a record that has reached so many people. Of course everyone's playing is great, but yours truly had a huge impact. Thank you so much!
Come Away From Me, Bill Frisell Nashville, and Gillian Welsch/David Rawlings Time (The Revelator) were very special records of that era, and to me all related. I guess it's the bridge between jazz and americana that felt so special to me as a young impressionable musician. Now as a guitarist and producer these sounds still inform an important part of my aesthetic. I'm in Toronto, and worshipped at the alter of Kevin and The Sisters Euclid for many Mondays! Love your playing Adam and glad I ran into this video.
This was super insightful Adam! Very grateful for your contribution to the record, and I'd definitely count it as one of my own "records that made me." Your playing taught me so much about playing delicately and melodically.
thank you for this gift, adam, i watched that video of you with the handsome band almost daily when it first came out. i couldn't believe how much you could do with a guitar, with just a few tastefully chosen notes.
This is a really great record, and it's so nice of you to shade some light on all the behind the scenes stuff. The guitar work-yours and everyone else's-it's trully exceptional and a huge part of the magic. You guys creat the perfect space in which Norah shines. And, man, Bill Frisell....the way he plays at a such a slow tempo, he's fearless, right? Thank you so much for this!
Love this video and your contributions to this fabulous album. I enjoyed hearing some of the details about the parts you played and which guitars you used. What made it fun for me was pausing the video and going back and listening again to each song from your perspective. I have to admit I always thought your electric guitar parts were played on a Tele. They sound so sweet, clear and beautiful. Fooled me again. I remember when Amos Garrett came to see a band I was playing with at a club many years ago. On our break I asked him if he played a Tele on Midnight At The Oasis and he said he used a 335. I think from that point on I never left the house without a 335, or a Tele for that matter. Thank you for taking the time to share this video with us.
I agree with everything you’re saying here. The random part about “midnight at the oasis “is that a few years ago my band played a showcase in Toronto for the Canadian blues summit. Afterwards someone in the industry came up to me and we proceeded to have a very long conversation in which he claimed it was his 1963 Stratocaster that was the guitar on “midnight at the oasis “. I trust your story more than mine, but just thought that was a funny anecdote as this guy (trying to remember his name) was very vehement about it being a 1963 Stratocaster. Haha
Man this was cool! Very interesting to hear the breakdown. Would you perhaps entertain the idea of doing the same type of video for the “feels like home “album? That’s my favourite Nora album, and I have either learned or taught quite a few of the guitar parts on it just because I find them so interesting. Particularly interested in the songs sunrise, what am I to you, toes, above ground, creeping in…. I suppose all the songs that have guitar actually I first heard the album when I was a teenager and it taught me a lot about playing with subtlety and serving the song with textures that still have a lot of personality and individuality. Thanks for this
Adam, thank you sharing this deep listening and the behind the scenes explanation. It inspired me to just listen, track by track with your explanation. I heard things that I had not noticed before. That tremolo guitar on The Long Day is Over is something special! Thank you, again, a great lesson in how to go deeper and listen to a familiar recording
Adam! I was just thinking back on my days admiring this albums guitar work back then, and here a new video pops up! This album definitely helped push me more into acoustic guitar. And fate stumbled me across this now. haha. Could we PLEASE get a "Painters Song" tutorial?! Ive been mumbling through the inro that I worked out for 20 years now. Im overdue to figure this out. PLEASE! Thanks so much for the videos.
Hey Adam- If you have a moment, could you share what you would call the chords on the bridge of One Flight Down? The section "The reeds and brass, etc" is what I'm calling the bridge. Something beautiful is going on there and I'm not quite getting it on the guitar. Thanks and thanks for guiding us thru this great album...oj
“Now you know ... " Db Db/C || Db/Cb Bbm7 | Ebm7b5/A Ab7 | Db/Cb Bbm7 | Ebm7b5/A | Ab7 || Here it is in C, which may make it easier to analyze: C C/B || C/Bb Am7 | Dm7b5/Ab G7 | C/Bb Am7 | Dm7b5/Ab | G7 ||
@@orvillejohnson7235 Ebm7b5/A - that's a hard quality to recognize, but once you know it, you'll find it in lots of places. (2nd chord of "Days of Wine and Roses" - if you're in F - is Am7b5/Eb.)
Hi, Love your work! I have a pretty specific question: did you play on the “Toes” track on Feels like home? I love the tone on that solo. I have been wondering what gear is used on that track. Maybe a tele and a small tweedish amp? Hope you are doing good! Greetings from Finland!
You have good ears! Telecaster & tweed amp sounds right - as I listen now. I can’t provide any specifics, unfortunately, as the guitar and amp belonged to the studio. In the right & left channels, Kevin Breit is playing two tracks on his Yanuzielo resonator.
Good question! It sounds to me (listening lately) like an old Fender Princeton Reverb. I know I didn't own one at the time, so perhaps I borrowed one - ? That's likely.
RE the @fivewattworld show you just did. Yes, Real Guitars is a rad shop, and still there (15 Lafayette St, Google map it). Every guitar player traveling through SF should go there. Amazing inventory. Whether you're @SteveVaiHimself, or a (so far) no name player, the historical significance, and level of legitimate mojo of the place starts to show as soon as you get onto Lafayette St, and really hits you in the face when you walk through the door. I moved to SF in 96 and I remember seeing Blue Bear Music School in the SF Weekly! That's awesome. And, sadly, many jazz clubs have closed, including the great Club Deluxe :( Anyway, sounds like you were here in a great period of the city's history.
While I was there, many clubs were thriving. I played at Club Deluxe a few times. Played *many* times at Bruno's in the Mission District: ruclips.net/video/WLSWBGdpyCU/видео.html. I'm playing a Telecaster here - another guitar I bought at Real Guitars!
This album and your contributions are why I started playing guitar!
Oh, man! 😃
@@AdamLevyGuitarTips I guess I’m a Levite?! Here’s my now vintage version Tennessee Waltz on an upside down B25 for your listening pleasure:
ruclips.net/video/lZMpkZX-3Xo/видео.html
I heard and saw Adam play with Lizz Wright yesterday at Paradiso Amsterdam. VERY beautiful!!!
“Come Away With Me” solo is one of my favorites ever - easily in my top 5. The feel and phrasing are exquisite, especially that part where you hesitate. And the double stop is icing on the cake. The length is perfect too - say what you gotta say and then move on!
This is awesome, listening to one of the guitarists on, undoubtedly, my all time favourite record, talk shop. What I like most however, is what he says 16 minutes in or so, it really highlights for me the depth of Norah's understanding of music, when he said that she said to him "it's not quite right" in regard to his playing of Jessie's original guitar segments that Jessie taught him. And the explanation of why, and his realisation of it. Just, well, that's real music right there.
This is actually really helpful. I'm a bit worried about my youngest version of the Come away with me album. It's 10 years old or so and, well, I have concerns about it's condition, and this is edging me closer to getting the anniversary edition.
Anyway, Adam Levy, if you read this comment I just want to say you are appreciated, good sir. Thank you for being a considerable part of that whole thing for what has to be 7 years or so? That music, those albums, and the wonderful singer you supported, are and will continue to be important to me, which means you are important, to me. Wishing you the best good sir.
It is one of the greatest records ever recorded.
thank you Adam
So great to know that you were the one who played the solo on Nightingale. One of my all time favorite solos. Its like a small song in a song. So simple and perfect.
Thanks so much.
Great video. Really love your vibe musically and conversationally. I first became aware of you on the Austin City Limits show where Norah was wearing the navy blouse with white polka dots. One of my favorite live shows of all time. PERFECTION…
Norah is quite the piano/ keys player. Her style is hard for me to describe in words, but it reminds me of the old Floyd Kramer’s style. Anyways, I have always felt and my wife agrees that I have a similar approach as Norah but on guitar. You are a lucky man, my all time dream would be to jam with Norah.
She came to my hometown in Juneau Alaska a couple years ago and played a show, and our community was just really dazzled by her. Such a great show. Everything that Norah does is just so very tasteful.
I remember seeing you guys play in San Diego. You were playing a tele and a Princeton reverb. That was the beginning of my obsession with guitar tone. The next week I bought a 67 Princeton for $500. Best gear purchase I’ve ever made.
My intro to Adam was seeing him backing Norah on a live TV performance. One solo in particular blew me away and prompted me to seek out Adam's work.
Great artist!
Thanks for tuning in, Jeff.
I could take this album to a desert island. It's just loaded from one end to the other with great musicianship. I'm a guitar player but oddly enough I'd say The Nearness Of You might be my favorite performance on the whole album.
I was curious about this actually, because this is where I first encountered your playing, and your name! You have a very modest, helpful approach, which is refreshing.
Cool. Thanks for sharing.
It was great fun playing the tracks along with your commentary and listening in more detail for all the textures you talked about. This adds so much more appreciation for the craftsmanship when listening to an album that was already one of my favorites. Thank you Mr. Levy.
You first came onto my radar when I saw a video of a particular live performance of Come Away with Me - Norah was playing a Guild semi-hollow electric, and you were playing a Telecaster into a small Fender - your solo was absolutely beautiful. It’s my favourite version of the song that I’ve heard.
You absolutely changed how I approach playing guitar. I used to want to be a shredder, listening to all the Blues greats and wanting to solo like a madman, but then I watched a performance years ago of you playing with Norah and a bassist as you referenced here, and I thought, anyone can be a soloist, but this guy knows how to fill the pocket without overcrowding the song. Years later, I play in a band that will either play as a four piece (bass, drums, two guitars and vocals with extensive harmonies), or just as a two piece (two guitars with vocals and extensive harmonies), and I have zero shame in saying that you showed me how this could be possible. You and Bill Frisell are on my list of people that I really want to create with, someday.
This record came out a year before I was born and my mom was a fan so I grew up listening to it extensively on CD. The solo to "Come Away with Me" is the first I learned to play and it drove me to look up your name in the liner note haha.
Knowing you were on it was what go me to buy your "Play The Right Stuff" book.....which is quite good.
I learned to play from your GP magazine columns. Thank you.
That's really nice to hear.
I'm surprised, no one mentioned how sibilant this recording/mastering is on this album , I have the CD.
Great video. Makes me want to put on my good headphones with this LP tonight. One of the all time great records. I surprised my wife for her birthday and took her to see the tour stop at the Paramount Theater in Denver (August 2002 I think). One of my all time favorite convert experiences. Also, I really enjoyed your appearance on 5 Watt World the other day.
Though they are separated by 30 years Come Away always reminded me of Who Knows Where the Time Goes
Both beautiful records
one of the best recording masterpieces of al time.
This was priceless, really. I actually bought and watched "House of Blues 2002" DVD before this album and dubbed it to VHS to avoid to loss bandwith. Then made it MP3 and it is still in my car' s playlist. "Come away with me" was not in this DVD. If I remember well, I am almost sure that you were playing all guitars on the stage so I didn't think this until now. It is very interesting to hear this. Thanks for this video, it's a great part of your history you shared with us here.
Thanks Adam, your playing on this album and on your live performances with Norah are outstanding. It's amazing to hear such a beautiful guitar work on a record that has reached so many people. Of course everyone's playing is great, but yours truly had a huge impact. Thank you so much!
Come Away From Me, Bill Frisell Nashville, and Gillian Welsch/David Rawlings Time (The Revelator) were very special records of that era, and to me all related. I guess it's the bridge between jazz and americana that felt so special to me as a young impressionable musician. Now as a guitarist and producer these sounds still inform an important part of my aesthetic.
I'm in Toronto, and worshipped at the alter of Kevin and The Sisters Euclid for many Mondays! Love your playing Adam and glad I ran into this video.
Thanks so much, Joel!
Thank you man. That was quality from end to end.
This was super insightful Adam! Very grateful for your contribution to the record, and I'd definitely count it as one of my own "records that made me." Your playing taught me so much about playing delicately and melodically.
Beautiful content, Adam. Thanks for sharing the insights!
thank you for this gift, adam, i watched that video of you with the handsome band almost daily when it first came out. i couldn't believe how much you could do with a guitar, with just a few tastefully chosen notes.
Ciao Adam, I must admit I knew about you from this record which I think it is still the best Norah did until now. Very nice video and nice playing! ❤
I just watched your Otis Gibbs interview....what a lovely interview! Thanks for all you do, Adam!
This is a really great record, and it's so nice of you to shade some light on all the behind the scenes stuff. The guitar work-yours and everyone else's-it's trully exceptional and a huge part of the magic. You guys creat the perfect space in which Norah shines. And, man, Bill Frisell....the way he plays at a such a slow tempo, he's fearless, right? Thank you so much for this!
Love this video and your contributions to this fabulous album. I enjoyed hearing some of the details about the parts you played and which guitars you used. What made it fun for me was pausing the video and going back and listening again to each song from your perspective. I have to admit I always thought your electric guitar parts were played on a Tele. They sound so sweet, clear and beautiful. Fooled me again. I remember when Amos Garrett came to see a band I was playing with at a club many years ago. On our break I asked him if he played a Tele on Midnight At The Oasis and he said he used a 335. I think from that point on I never left the house without a 335, or a Tele for that matter. Thank you for taking the time to share this video with us.
I agree with everything you’re saying here. The random part about “midnight at the oasis “is that a few years ago my band played a showcase in Toronto for the Canadian blues summit. Afterwards someone in the industry came up to me and we proceeded to have a very long conversation in which he claimed it was his 1963 Stratocaster that was the guitar on “midnight at the oasis “. I trust your story more than mine, but just thought that was a funny anecdote as this guy (trying to remember his name) was very vehement about it being a 1963 Stratocaster. Haha
I remember exactly when it came out
Love your stories and your presentation of them to us.
Can’t wait Adam! That album and its guitar parts have been a huge part of my musical life.
Man this was cool! Very interesting to hear the breakdown. Would you perhaps entertain the idea of doing the same type of video for the “feels like home “album? That’s my favourite Nora album, and I have either learned or taught quite a few of the guitar parts on it just because I find them so interesting. Particularly interested in the songs sunrise, what am I to you, toes, above ground, creeping in…. I suppose all the songs that have guitar actually I first heard the album when I was a teenager and it taught me a lot about playing with subtlety and serving the song with textures that still have a lot of personality and individuality. Thanks for this
Thank you❤! Just came across your guitar tips lessons and really love your contribution and masterful way of sharing your experiences. 🙏🙏🙏
Adam, thank you sharing this deep listening and the behind the scenes explanation. It inspired me to just listen, track by track with your explanation. I heard things that I had not noticed before. That tremolo guitar on The Long Day is Over is something special! Thank you, again, a great lesson in how to go deeper and listen to a familiar recording
Thanks for listening, David. Honestly, I discovered new things too.
Been looking forward to this video. Thanks for doing this Adam, I appreciate your humble insight as well as your sound and musical sensibility!
Adam! I was just thinking back on my days admiring this albums guitar work back then, and here a new video pops up! This album definitely helped push me more into acoustic guitar. And fate stumbled me across this now. haha.
Could we PLEASE get a "Painters Song" tutorial?! Ive been mumbling through the inro that I worked out for 20 years now. Im overdue to figure this out.
PLEASE! Thanks so much for the videos.
I'll put it on my to-do list. I'll have to relearn it!
the big question....did you have any opportunity to meet and/or hang out with Ravi Shankar?
I was honored to meet him a couple of times. He came to a couple of Norah's shows. I wouldn't say we "hung out."
@@AdamLevyGuitarTips Excellent! He was "The Maestro - In Tune with the Universe". I Absolutely Love Ravi Shankar's Sitar Music!
Can you do a version of that in Palo Alto? July 10 at Lytton Plaza
Maybe ... 😄
Hey Adam- If you have a moment, could you share what you would call the chords on the bridge of One Flight Down? The section "The reeds and brass, etc" is what I'm calling the bridge. Something beautiful is going on there and I'm not quite getting it on the guitar. Thanks and thanks for guiding us thru this great album...oj
“Now you know ... "
Db Db/C || Db/Cb Bbm7 | Ebm7b5/A Ab7 | Db/Cb Bbm7 | Ebm7b5/A | Ab7 ||
Here it is in C, which may make it easier to analyze:
C C/B || C/Bb Am7 | Dm7b5/Ab G7 | C/Bb Am7 | Dm7b5/Ab | G7 ||
@@AdamLevyGuitarTips Thanks so much. I wasn't deciphering that Ebm7b5 bar correctly.
@@orvillejohnson7235 Ebm7b5/A - that's a hard quality to recognize, but once you know it, you'll find it in lots of places. (2nd chord of "Days of Wine and Roses" - if you're in F - is Am7b5/Eb.)
Hi, Love your work! I have a pretty specific question: did you play on the “Toes” track on Feels like home? I love the tone on that solo. I have been wondering what gear is used on that track. Maybe a tele and a small tweedish amp? Hope you are doing good! Greetings from Finland!
You have good ears! Telecaster & tweed amp sounds right - as I listen now. I can’t provide any specifics, unfortunately, as the guitar and amp belonged to the studio. In the right & left channels, Kevin Breit is playing two tracks on his Yanuzielo resonator.
@@AdamLevyGuitarTips Thank you so much for your answer!
Hi Adam, what amp did you use to record this album?
Good question! It sounds to me (listening lately) like an old Fender Princeton Reverb. I know I didn't own one at the time, so perhaps I borrowed one - ? That's likely.
RE the @fivewattworld show you just did. Yes, Real Guitars is a rad shop, and still there (15 Lafayette St, Google map it). Every guitar player traveling through SF should go there. Amazing inventory. Whether you're @SteveVaiHimself, or a (so far) no name player, the historical significance, and level of legitimate mojo of the place starts to show as soon as you get onto Lafayette St, and really hits you in the face when you walk through the door.
I moved to SF in 96 and I remember seeing Blue Bear Music School in the SF Weekly! That's awesome.
And, sadly, many jazz clubs have closed, including the great Club Deluxe :( Anyway, sounds like you were here in a great period of the city's history.
While I was there, many clubs were thriving. I played at Club Deluxe a few times. Played *many* times at Bruno's in the Mission District: ruclips.net/video/WLSWBGdpyCU/видео.html. I'm playing a Telecaster here - another guitar I bought at Real Guitars!
@@AdamLevyGuitarTips Awe man. That's cool. Bruno's is also no longer there.