Chords for Lee Ritenour - A Twist Of Rit (Behind The Scenes)
Tempo:
88.6 bpm
Chords used:
E
G
D
A
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
The most rewarding thing about the creative process is that it's really hard.
when it's going to strike.
the part that I love.
it's like a good healthy drug.
[Am] in the [D] music business, I got a young start.
And at the time it was a very, very cool thing to be [Em] a studio musician.
[B] from around the world, [D] essentially.
has stayed with me forever.
when it's going to strike.
the part that I love.
it's like a good healthy drug.
[Am] in the [D] music business, I got a young start.
And at the time it was a very, very cool thing to be [Em] a studio musician.
[B] from around the world, [D] essentially.
has stayed with me forever.
100% ➙ 89BPM
E
G
D
A
F#
E
G
D
_ _ The most rewarding thing about the creative process is that it's really hard.
It's so elusive.
You just don't know _ when it's going to strike.
_ And that's the great thing about it.
That's the part that I love.
You just keep chasing it and [C]
it's like a good healthy drug.
_ When I started [Am] in the [D] music business, I got a young start.
I grew up in [E] L.A.
And at the time it was a very, very cool thing to be [Em] a studio musician.
I was [C] just playing with all the greatest rhythm sections [B] from around the world, [D] essentially.
And that capacity I [E] had, that training as a studio musician, has stayed with me forever.
I loved [F#] composing, I loved arranging, I loved producing, and I loved [Em] playing the guitar.
And I think those four things helped give me the Lee Rittenhauer [B] sound.
_ _ _ [E] _ _
_ _ _ _ _ _ _ _
_ This album, The Twist of Rit, _ I had a chance [G#m] to not only write new material for this album,
but I decided to go back and just look [Fm] at my catalog, which [N] spans over 40 years now.
It was really a fun way to approach it.
We did fresh [G#] arrangements, we flipped and twisted these tunes.
And we picked tunes that we thought were relevant for 2015.
_ _ _ [F#] _ _ _ _
_ [D#m] _ _ _ [G#] _ _ [G#m] _ _
_ _ [E] _ _ _ _ [F#] _ _
_ _ [B] _ _ _ _ [E] _ _
[Bm] _ _ [E] _ _ _ [A] One of the most [Em] _ [A] rewarding parts of The Twist of Rit for me [Em] is the fact that these tunes [G] stand up.
And some of them are 40 years [D] old. _
[Em] I went into this going, oh [G#] God, is this stuff going to sound really corny?
Is it going to be _ [B] completely, [D#m] 100% dated?
[C] We picked the [D#] right tunes, we twisted and flipped them the right way.
And I [C#] put a combination of [B] young players together with seasoned players.
And [F#] _ I'm happy to say it [B] sounded pretty cool.
_ _ [D] _ _ _ _ _ _
[A] _ _ [E] _ _ _ I learned this [F#] from Quincy Jones.
Casting, [Cm] it's just like casting for a movie.
[C] Casting for a record is [A] very similar.
You have to decide [G] what kind of record you're doing, what kind of track you're doing,
what kind of arrangement you're doing, what specific sound you want from the other players.
I told Dave Grusin, my best buddy for the last 40 [C] years,
and I've seen [F] Dave do everything in the studios.
One of the things he was [F#] great at was always [A#] being the [F] utility guy.
He could [E] play piano, he could play Fender Rose, Clavinet, Wurlitzer, Minimoog, B3 organ.
Whatever it called for on the keyboard, [F] he could come up with the right color, the right [Gm] orchestration.
I cast [E] somebody like Ron Brenner Jr.,
who's kind of like [A] one of the hot young blood [D] drummers out there.
Same with Chris Coleman.
[G] So I cast them as the ones to [C] add the extra young energy on the drums.
[G] And I wanted a horn section this [Fm] time that I [D#] didn't want the stuff [C] played perfectly.
[G] Kind of more of a 70s kind of vibe.
The guys who knew how to kind of fall behind [A#] the beat and phrase a little [F] different.
John Beasley, who co [C]-produced some of the record [A#] with me,
and John was [F] very instrumental in helping out on the [G] record.
_ _ _ [B] _ _ [A] _ _
[F#m] _ _ [D] _ _ [F#m] _ _ [Am] _ _
[Bm] _ _ [C] _ _ [Bm] _ _ [A] _ _
[G#] _ _ [G] _ _ _ _ [E] _ _
_ _ [G] _ _ [Bm] _ [A] Ooyah was probably the [G#] latest tune [Em] from the old era that's on the album.
It was [D] originally done in the middle [G] 90s, and [Bm] it has a [F#m] great melodic hook.
It [G#m] was more of a smooth [F#] jazz vehicle at the time.
[F#m] We had this idea [Dm] to kind of [E] put more of a [Bm] Chris Dave, Robert Glasper, D [F#]'Angelo kind of groove [B] behind the [G] song.
And Ron [F#m] Brenner Jr.
just put a real nasty [E] groove on the tune,
and [G] we sweetened it with just flugelhorn and flute, [D] and John Beasley playing [G] Rhodes on it,
and [D] Dave Grusin playing great Minimoog like he used to do for Quincy Jones in [Em] the early days.
So it's got [F#m] all the right colors, and [D] I kind of got a unique [G] jazz guitar sound.
Added [Bm] some very subtle but cool little effects behind the tone.
[G] So that one came [E] off real nice. _ _
[D] _ _ [G] _ _ [E] _ _ [Bm] _ _
_ _ [E] _ _ _ _ [F#] _ _
[E] _ _ _ _ _ _ _ _
As my fans probably know, I keep moving around.
I'm kind of a moving target, and I like it that way because I've made close to 45 albums now,
and I still get excited about making albums. _ _ _
[A] _ [E] And I still get excited about playing guitar and going on stage and playing,
[A] and that's because I love so many [E] different kinds of music.
And it's going to be really fun to play this new record.
_ [E] _ _ _ _ _ _ _ _ [F#] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [A] _ _ _ _ _ _
It's so elusive.
You just don't know _ when it's going to strike.
_ And that's the great thing about it.
That's the part that I love.
You just keep chasing it and [C]
it's like a good healthy drug.
_ When I started [Am] in the [D] music business, I got a young start.
I grew up in [E] L.A.
And at the time it was a very, very cool thing to be [Em] a studio musician.
I was [C] just playing with all the greatest rhythm sections [B] from around the world, [D] essentially.
And that capacity I [E] had, that training as a studio musician, has stayed with me forever.
I loved [F#] composing, I loved arranging, I loved producing, and I loved [Em] playing the guitar.
And I think those four things helped give me the Lee Rittenhauer [B] sound.
_ _ _ [E] _ _
_ _ _ _ _ _ _ _
_ This album, The Twist of Rit, _ I had a chance [G#m] to not only write new material for this album,
but I decided to go back and just look [Fm] at my catalog, which [N] spans over 40 years now.
It was really a fun way to approach it.
We did fresh [G#] arrangements, we flipped and twisted these tunes.
And we picked tunes that we thought were relevant for 2015.
_ _ _ [F#] _ _ _ _
_ [D#m] _ _ _ [G#] _ _ [G#m] _ _
_ _ [E] _ _ _ _ [F#] _ _
_ _ [B] _ _ _ _ [E] _ _
[Bm] _ _ [E] _ _ _ [A] One of the most [Em] _ [A] rewarding parts of The Twist of Rit for me [Em] is the fact that these tunes [G] stand up.
And some of them are 40 years [D] old. _
[Em] I went into this going, oh [G#] God, is this stuff going to sound really corny?
Is it going to be _ [B] completely, [D#m] 100% dated?
[C] We picked the [D#] right tunes, we twisted and flipped them the right way.
And I [C#] put a combination of [B] young players together with seasoned players.
And [F#] _ I'm happy to say it [B] sounded pretty cool.
_ _ [D] _ _ _ _ _ _
[A] _ _ [E] _ _ _ I learned this [F#] from Quincy Jones.
Casting, [Cm] it's just like casting for a movie.
[C] Casting for a record is [A] very similar.
You have to decide [G] what kind of record you're doing, what kind of track you're doing,
what kind of arrangement you're doing, what specific sound you want from the other players.
I told Dave Grusin, my best buddy for the last 40 [C] years,
and I've seen [F] Dave do everything in the studios.
One of the things he was [F#] great at was always [A#] being the [F] utility guy.
He could [E] play piano, he could play Fender Rose, Clavinet, Wurlitzer, Minimoog, B3 organ.
Whatever it called for on the keyboard, [F] he could come up with the right color, the right [Gm] orchestration.
I cast [E] somebody like Ron Brenner Jr.,
who's kind of like [A] one of the hot young blood [D] drummers out there.
Same with Chris Coleman.
[G] So I cast them as the ones to [C] add the extra young energy on the drums.
[G] And I wanted a horn section this [Fm] time that I [D#] didn't want the stuff [C] played perfectly.
[G] Kind of more of a 70s kind of vibe.
The guys who knew how to kind of fall behind [A#] the beat and phrase a little [F] different.
John Beasley, who co [C]-produced some of the record [A#] with me,
and John was [F] very instrumental in helping out on the [G] record.
_ _ _ [B] _ _ [A] _ _
[F#m] _ _ [D] _ _ [F#m] _ _ [Am] _ _
[Bm] _ _ [C] _ _ [Bm] _ _ [A] _ _
[G#] _ _ [G] _ _ _ _ [E] _ _
_ _ [G] _ _ [Bm] _ [A] Ooyah was probably the [G#] latest tune [Em] from the old era that's on the album.
It was [D] originally done in the middle [G] 90s, and [Bm] it has a [F#m] great melodic hook.
It [G#m] was more of a smooth [F#] jazz vehicle at the time.
[F#m] We had this idea [Dm] to kind of [E] put more of a [Bm] Chris Dave, Robert Glasper, D [F#]'Angelo kind of groove [B] behind the [G] song.
And Ron [F#m] Brenner Jr.
just put a real nasty [E] groove on the tune,
and [G] we sweetened it with just flugelhorn and flute, [D] and John Beasley playing [G] Rhodes on it,
and [D] Dave Grusin playing great Minimoog like he used to do for Quincy Jones in [Em] the early days.
So it's got [F#m] all the right colors, and [D] I kind of got a unique [G] jazz guitar sound.
Added [Bm] some very subtle but cool little effects behind the tone.
[G] So that one came [E] off real nice. _ _
[D] _ _ [G] _ _ [E] _ _ [Bm] _ _
_ _ [E] _ _ _ _ [F#] _ _
[E] _ _ _ _ _ _ _ _
As my fans probably know, I keep moving around.
I'm kind of a moving target, and I like it that way because I've made close to 45 albums now,
and I still get excited about making albums. _ _ _
[A] _ [E] And I still get excited about playing guitar and going on stage and playing,
[A] and that's because I love so many [E] different kinds of music.
And it's going to be really fun to play this new record.
_ [E] _ _ _ _ _ _ _ _ [F#] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [A] _ _ _ _ _ _
