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Ertegun claimed his inspiration for writing "Mess Around" was stride pianist Pete Johnson. [citation needed] Earlier versions of the tune's New Orleans boogie piano riff can be heard in songs from the early 1930s and 1940s, with perhaps the earliest example being Charles "Cow Cow" Davenport's "Cow Cow Blues" from 1928.
The instrumental "Prelude" lasts approximately a minute and 43 seconds, starting with a rapid-fire hammered piano riff on the middle-C piano key, joined by various instruments, swinging through styles such an Aaron Copland-styled ballad to funk to a Southwestern beat.
A "rough-edged cover of the garage rock warhorse" [286] with Clarke's guitar emulating the opening electric piano riff, it was paired with "Tear Ya Down" on a 7" vinyl single. Supported by a "back-breaking" touring schedule, the "high-octane" version reached No. 68 on the UK Singles Chart . [ 287 ]
"A Thousand Miles" is a piano-driven pop song supported by a string orchestral arrangement. Carlton says that the song was inspired by a crush she had on a Juilliard student (who is now a "very famous actor") whom she met while she was attending the School of American Ballet.
"Sweet Little Sixteen" is a rock and roll song written and first recorded by Chuck Berry, who released it as a single in January 1958. His performance of it at that year's Newport Jazz Festival was included in the documentary film Jazz on a Summer's Day.
Mud and other debris have been left in place inside a 149-year-old piano that was salvaged from a mudslide and is now on display at a Malibu art gallery. (Michael Blackshire / Los Angeles Times)
In it, Ross sings about the joy of playing a piano, describing it as if it were a person. The song was released on September 19, 1980 as the album's third and final single by Motown Records in the United States, and the second single elsewhere. In an accompanying music video, Ross appears performing the song in an apartment with an old piano. [2]
The melody derived from band members' riffs—Basie rarely wrote down musical ideas, so Eddie Durham and Buster Smith helped him crystallize his ideas. The original 1937 recording of the tune by Basie and his band is noted for the saxophone work of Herschel Evans and Lester Young, trumpet by Buck Clayton, Walter Page on bass, and Basie himself on piano. [1]