The Jazz Guitar Chord Dictionary
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  1. #26

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    Re-posting this interview.

    Marty Grosz, who's still with us, looks back and shares gold from - at the time of recording - half a century of experience.

    This 'resonates': "I wish that people would dance to the music again. The best jobs I ever had in my life were dance gigs. And I don’t mean that because it’s a lost thing and nobody’s doing it anymore and so I hark back to it, but I mean they were really fun because you could really play unselfconsciously."
    Last edited by destinytot; 09-03-2017 at 04:24 PM.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by destinytot
    Re-posting this interview.
    Marty Grosz, who's still with us, looks back and shares gold from - at the time of recording - half a century of experience.
    Great interview! I like his thoughts about "what is swing?" starting at 17:00.

  4. #28

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    A Seattle band is jazzifying video game theme songs. That's a source to tunes that might be more familiar to pop audiences than the old standards.
    The original Legend of Zelda theme...

    The Contraband Reloaded version featuring D'Vonne Lewis' LIMITED EDITION...
    Last edited by KirkP; 09-05-2017 at 03:48 PM.

  5. #29

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    Quote Originally Posted by Tehzim
    I did one better. I managed to line them up and play them simultaneously.

    And suddenly it made sense musically.
    That sounds really cool. How did you do that? I would like to look at some solos that way. Did you use some software to line up the tempo, pitch, etc? What did you use.


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  6. #30

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    Quote Originally Posted by rlrhett

    My friend once described jazz as the "bored musician" music. What he meant was that in the days before ubiquitous recorded music musicians were the radio or juke-box of their day. They were expected to play the day's greatest "hit" over and over again. Jazz was born out of what happens when you force that kind of misery on a musician.

    A quick check of Bilboard says that "Science Fiction" by Brand New is #1. I've never heard the tune or the band, but imagine if you now were expected to play that tune two or three times a day six days a week. That is what it was like for bands of the first half of the last century. You had two challenges:

    1) Play "Science Fiction" in such a way that people came to hear you rather than the band at the next nightclub down the block; and,

    2) Play "Science Fiction" in a way that didn't make you want to shoot yourself from boredom.
    You mean like this?


  7. #31

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    At the end of the day, the song is paramount. Forget all the "jazz stuff" if you can't play the song straight. My playing took off because an eminent pianist I was playing with smacked me around the ears for not playing songs straight before being able to improvise them. Once I got that issue sorted, my improvisation took off to another level.


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  8. #32

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    The history of jazz improv. is more or less (I) "jazzy" phrasing of melody...maybe freer tempos, and fills to phrases, (II) melodic embellishment, (III) use of common harmonic accompaniment to melody, as framework for improv., (IV) use of reharmonization to melody, as both accompaniment, and sometimes basis for improv.

    If a jazz band were playing to a knowledgable audience, they might not even state the head (the melody), though I think this is a bad idea, as it does not help neophyte listeners in the crowd.

    It's tremendously instructive to listen to different player's versions of the same tune....I love Dexter Gordon who can play long, flowing phrases (sometime lasting through an entire chorus !).

    I still prefer Louis A. playing whole notes with simple melodic embellishment to a lot of short phrases, which don't go anywhere.

  9. #33

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    Quote Originally Posted by goldenwave77

    If a jazz band were playing to a knowledgable audience, they might not even state the head (the melody), though I think this is a bad idea, as it does not help neophyte listeners in the crowd.

    .
    Sometimes it can be delightful too. They don't even need to know "What is this thing called love?" to enjoy this.


    David

  10. #34

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    Quote Originally Posted by Boogers
    At the end of the day, the song is paramount. Forget all the "jazz stuff" if you can't play the song straight. My playing took off because an eminent pianist I was playing with smacked me around the ears for not playing songs straight before being able to improvise them. Once I got that issue sorted, my improvisation took off to another level.


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    Damn right ,
    if one just improvs over the changes ...
    Eventually every tune will sound very similar ...
    Last edited by pingu; 09-06-2017 at 10:24 AM.

  11. #35

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    I tend to forget how many people don't have their fundamentals down. I just think it's a given that people that play out have their basics down. But then again I'm still shocked that a fair majority of students that graduate from a music college that holds an international reputation and "Brand" can't play a head through without music.
    Audiences that don't "get" jazz... yeah it might be that they've never heard jazz the way people who love it hear it.

    I don't get bad jazz either.

    But I'd go to a Keith Jarrett concert, and it's improvised music I've never heard before, even if it's a long introduction to a standard, and I'm there on every note. And so is most of the audience.

    Maybe they don't hear jazz good or bad, but good music.

    David

  12. #36

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    One or two wrong notes is a mistake, more is called jazz.

  13. #37

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    Three guys spring to mind that have more faith to the melody in their solos than most: Wes Montgomery, Monk, and Bill Frisell.

    When I saw Frisell live though, I was kinda disappointed that he stayed so close to the melody and never really took off on a wild ride.

    So as a knowledgeable jazz listener, I want both.