As I mentioned in my Bossa nova blog series, I became motivated to learn the music of Antonio Carlos Jobim and his peers during my teenage years. Since my models were well-known jazz musicians I listened to a variety of their recordings which featured songs like The Girl from Ipanema, How Insensitive and A Day in the Life of a Fool.
After being captivated by the rhythmic accompaniments I heard, I found a way to imitate these types of Latin bass lines that worked for my solo piano playing. My approach to playing these bass parts with my left hand also worked very well on the Hammond B-3 organ which I played in various jazz and commercial groups.
Although I continued to use these rhythmically flavored bass parts for several years, something happened during the mid-1980s that totally changed my approach to playing left hand Latin bass.
Here’s what happened…..
I had a six month solo piano engagement at the Sheraton Boston Hotel. Since the gig ended at 11:00 PM, I was able to walk over to the Copley Plaza Hotel a couple of nights per week after I finished work. The featured performer during that era was solo pianist Dave McKenna, and I was often able to catch his last two sets.
There were many things that I learned from watching and listening to Dave play. I’ve shared these with my students over the years and will tell you all about them on another occasion.
Ironically, despite the fact that my frequent exposure to Dave McKenna’s solo piano work had a tremendous impact on my own playing as well as teaching, my “aha” moment came while he was out on tour.
When Mr. McKenna was away, the Copley Plaza’s grand piano was played by a variety of wonderful well-known pianists. And it was during one of these weeks, that I encountered the pianist who was to transform my left hand Latin bass rhythmic accompaniments forever.
Pianist James Frederick “Jimmy” Lyon (1921-1984) was known for his work as Mabel Mercer‘s accompanist to the wider public. However, for those in the “Big Apple”, Jimmy Lyon was the pianist in Peacock Alley at the Waldorf-Astoria Hotel. According a 1981 article written by journalist Lillian Ross in the New Yorker magazine, Mr. Lyon had a huge repertoire of songs which he could recall and instantly arrange at a moment’s notice.
Jimmy Lyon also had another distinction. He owned and performed on Cole Porter’s Steinway grand piano. The composer had lived at the Waldorf for the last 25 years of his life. Needless to say Jimmy Lyon became recognized not only through this association but also as a unique interpreter of Cole Porter’s songs.
And so on that fateful night yours truly entered the Copley Plaza bar and heard Jimmy Lyon playing Cole Porter’s Begin the Beguine.
That’s How I Began My Beguine…..
Something simply hit me about the way Jimmy Lyon was playing the left hand bass. I have no recollection of how and when I actually figured out how to use what I had heard. However, I eventually settled on what have since called the beguine bass. You can see the rhythms and chord tones that I use in the musical examples included in today’s post.
Example No. 1 shows the approach for songs that have ii – V progressions spread out into two measures. The pattern for each chord is always Root – 5th – 5th – 5th one octave lower. Listen
Example No. 2 illustrates how the ii – V progressions work when each chord is two beats:
Root of the ii chord - Root of the V chord – Root of the V chord – Root of the V chord one octave lower. Listen
Finding ways to help my piano students keep rhythmic accompaniments going in the left hand part while playing the melody of a song with the right hand is often a challenge. The beguine bass continues to be one of the most reliable and consistent tools that I use to help my students keep their piano playing flowing, rhythmic and upbeat.
Not only have my piano students successfully used the beguine bass with Bossa novas, they have also used it for their arrangements of songs such as Somewhere Over the Rainbow, Can You Feel the Love Tonight?, Besame Mucho, When You Wish Upon a Star, A Day in the Life of a Fool, as well as a number of songs by Cole Porter.
In honor of pianist Jimmy Lyon, today’s audio track is Begin the Beguine. You’ll hear how I used the beguine bass in my playing of this great Cole Porter standard. In the coming weeks, my blog series will continue to focus on the music of Cole Porter. You’ll hear the beguine bass used in a variety of songs by one of the quintessential composers of the American Popular Songbook.
If you would like to learn how to play Begin the Beguine or any other Cole Porter song, or simply want to use the beguine bass to accompany another of your favorite songs, contact us today to find out all about piano lessons. The instructors at the Ed Mascari Piano Studio are always delighted to help you Learn to Play the Music You Love.
Hi-
I came across your story about meeting Jimmy Lyon at the Copley Plaza Hotel. I was a very close friend of Jimmy’s. I am a pianist/singer. I met Jimmy while I was performing at Ted Hook’s, “Backstage” back in 1980-1984. At the time, Jimmy was performing at the Waldorf and also at Broadway Joe’s Steakhouse on West 46thy street in NYC. Broadway Joe’s was just a block away from Backstage. After finishing each evening, I would always stop by Broadway Joe’s to see and hear Jimmy. He was so gracious. He always invited us musicians around town to sit in with him. We often stayed so late that we closed the place. It was quite an era. Sidney Zion, the well known newspaper journalist owned the place at the time. He and his wife Elsa, (both recently deceased) ran the club like a private party each night. Often, Jimmy’s wife, Chris Lyon would get up and sing. She was quite a good singer as were many of the other guests. Among Jimmy’s favorite tunes were, “Folks Who Live On The Hill”, “I Got Lost” and Cole Porter’s less known, “Dream Dancin’” One evening while I was singing with Jimmy, Frank Sinatra walked in with his entourage, including Joey Hetherton. When he saw Jimmy, he tipped his hat and very cordially said, “James” as he walked by. Jimmy nodded as well. I nearly collapsed. In 1984, I showed up one evening and Jimmy wasn’t feeling well. He was on a break, lying down in the upstairs apartment. He decided he was going to have to leave early. I offered to finish his night and he was totally appreciative. He took off for the following two weeks and I played his schedule for him. He had been admitted to the hospital where they discovered he had cancer. He actually seemed to be doing better at one point. They released him, but he had to be readmitted shortly after. He died that November. I attended his funeral as did hundreds of friends and family members. He was such a unique guy. He was personally very complicated and professionally very simple. He could have been one of the very famous pianists of our day. He was that good. He just never cared for that kind of attention. It was always all about the music for him. I miss him still.
Paul
I used to live across from the Waldorf 1978/79 and every Sunday night would go to the Peacock room to hear Jimmy play. He was so incredible and talented. And such a nice person. I miss him too. I have been looking for his music or any word of him and it wasn’t until tonight that a friend from France showed me this site and an LP he was on. If you know of any way I can get more of his music I would really appreciate it. Tonight has been a night for precious memories. I am so happy to read your words and Mr. Mascari’s. Have a happy new year both of you!
I would really like to say thank you so much for that work you have made in writing this piece of writing. I am hoping the same effective work by you in the future too.