DVD-Blues and Rock Techniques for Hammond Organ - Movies Online That I Can View
DVD-Blues and Rock Techniques for Hammond Organ was an incredible movie! Both David B. Cohn and David Bennett Cohen were amazing! Maybe thats what makes the movie so good.The great cast includes David B. Cohn, David Bennett Cohen, Bobby Kyle, Terry Wetmore, Everett Boyd. The movie moves on like a dream and end leaving you wanting for more.
If you love watching David B. Cohn or David Bennett Cohen, you are deffinetly going to want to watch DVD-Blues and Rock Techniques for Hammond Organ.
The Hammond organ, especially the B-3 combined with the Leslie speaker, has long been an integral part of modern popular music.You can hear the "classic" sound of the Hammond organ in blues, gospel, jazz, rock, and even on some contemporary singer/songwriter songs (try to picture Dylan's "Like a Rolling Stone" or Procol Harem's "Whiter Shade of Pale" without that distinctive sound). Sometimes the organ is used as "padding," providing background textures using only its sustain capabilities, and at other times it takes a more prominent role as a lead instrument. We're proud to present the first lesson to teach the organ as a blues and rock instrument for learning players. David Cohen starts with the basics, detailing all the parts of the Hammond B-3 and showing how to get the unique sounds associated with this instrument using presets, drawbars, percussion tablets, vibrato switch, volume pedal and other devices. Then it's into the playing! David covers some of the! most important licks and grooves you'll need to get out and play in a band. His love of the instrument comes across as he teaches riffs, blues scales, chord changes, and many of the specific musical tricks that work only on organ. Each tune is illustrated by a top New York rock band to give you a feeling for how it should be performed. You'll learn to play a fast shuffle in C; a funk tune in E; a medium-tempo shuffle in A (with a Jimmy Smith riff); the all-important slow blues in G; and a funk rhythm with a G minor to C (I - IV) groove. In each of these pieces, you'll learn how to improvise solos, use licks and fills, play a variety of bass lines, and become an integral part of a rockin' blues band.
Don't Come Knocking- To begin, this movie has a great beginning; it pulled me right into it.This is something not usually seen in movies of this type, so it makes it an unusual, yet pleasant experience.The action scenes are really great. Sam Shepard played his role great. Jessica Lange actually caught my interest.
I think Sam Shepard and Jessica Lange worked wonderful in Don't Come Knocking. The great supporting cast includes Sam Shepard, Jessica Lange, Tim Roth, Gabriel Mann, Sarah Polley.
All in all, I would rate this movie an 8.5/10. I would definitely watch this movie again.
I left some information, immages, and video previews of Don't Come Knocking below.
Summary of Don't Come Knocking: With Don't Come Knocking, Wim Wenders revisits territory, both literal and metaphorical, first explored in Paris, Texas. Not only does he return to the Southwest, but Sam Shepard is back as co-writer. This time, he's also the star. His Howard Spence is a movie cowboy who's had enough. One day while working in Monument Valley, he takes off his boots and hops a train to Nevada to see his mother (Eva Marie Saint, lovely as ever). Little does he know that Sutter (Tim Roth), a by-the-books bondsman, is hot on his trail. Next, Spence travels to Montana where a sad young woman named Sky (Sarah Polley) is recovering from a recent death, while an angry young man named Earl (Gabriel Mann), who sounds much like Chris Isaak, plies the troubadour trade. Spence doesn't know it yet, but they're the results of a rambunctious past that will soon "come knocking," as it were. While in Butte, he also catches up with Doreen (Jessica Lange), a lover from many moons ago. Clearly, Don't Come Knocking is Wenders and Shepard in a reflective mood, even more so than in Paris, Texas, as Spence is older and has more regrets than Harry Dean Stanton's Travis. It doesn't leave as much of an impression, but the film is a worthy addition to the post-modern Western canon. Shot by Franz Lustig, it's frames are filled with intense hues--fiery reds, glowing greens--and a plaintive score by T-Bone Burnett. --Kathleen C. Fennessy
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