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Thanks Mike, I have sent Adam a friend request on Facebook, it looks like he lives in the UK.
Originally Posted by MikeS
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06-05-2017 10:18 AM
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Well played Andy! You're half-way home. Hope you're enjoying the new guitar. Originally Posted by andyb
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How are you finding bars 17&18, is it just me or is there something off here?
I notice on Adam Hinchliffe's solo he cuts the line short.
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The line seems fine to me. It's based on an Fmaj7 arpeggio over the Fmaj7 chord and ends on a strong chord tone. I actually didn't enjoy Adam Hinchliffe's solo so much. I felt where he "made it his own" he ended up spoiling the swing feel and dislocating the lines from the harmonic structure of the tune. It's super important in all improvising, whatever we do with the lines, to make sure what we're playing, whether diatonic or chromatic, works well with the chords and makes sense as a musical statement. It's probably just me, but I didn't find his handling of that solo very appealing. It looked at times like he held back on the time and then had to race to catch up, overshot, so held back again, etc. But it really could just be me, I was the guy who once listened (a long, long time ago) to Joe Pass and said, "Yeah, he plays the melody in chord forms and throws in a lot of fills... what's so great about that?" Originally Posted by andyb
So... my capacity to be dead wrong is legendary!
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17&18 sound odd somehow after 15&16? I am sure that they are "correct" but I cannot put my finger on why it doesn't work for me. And it's bugging me a bit.
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Not having heard you attempt the line I can't comment, but I find I tend to miss the fact that the line starts firmly on the downbeat of "1." We beginners in jazz tend to think we always have to start on the upbeat of "1" or even on "2" but that line, and many of Conti's lines, start right on "1." I also found this with Jimmy Raney, who isn't afraid to start flat-footed right on the downbeat of "1." Several lines in this solo just will not work (at least not for me) if I miss that. 15-16 is like that for me. I keep wanting to start on "and" after "1" and the line collapses. 17 is the first phrase of the bridge, so it needs to hit the key-change feeling of the bridge solidly. I notice 23 uses the same figure as 17, and it needs to begin solidly on "1" also, as does 31 which, surpass! uses the same figure yet again! Originally Posted by andyb
It sounds and feels good to me, but maybe you could find some other line suitable to play over an Fmaj7 and just use it. Nobody would have a problem, I'm sure!
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So here's my attempt at playing the head and the Conti solo. The head is still pretty shaky, and I just barely have the solo together, but I have to finish this so I can wind up my Jimmy Raney solo and then be ready to fly to Israel on Sunday!
I'll post reports on my experiences in Israel over on "Everything Else" so if you're interested in archaeology, stay tuned!
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Hi Andy -- At first bars 17-18 sounded a bit off to me (actually "rushed" is more precise). I think Lawson nailed it when he pointed out that the line starts firmly on the downbeat of "1." Now that I am expecting it, all is well. Originally Posted by andyb
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Terrific Lawson! I really enjoyed that. It is really fun to see these projects come together. Originally Posted by lawson-stone
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Yes now I have played it a few more times it is starting to sound OK, I have taken the advice about starting on the 1, and that has helped. Hopefully I will do my recording tomorrow. Originally Posted by losaltosjoe
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Here's my post for Conti TTI: Take The A Train -- Bars 1-24.
Notes
- In measures 9-10, I take it up an octave.
- In measure 16, I substituted one of his double stop lines from a previous project.
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Nice. And that Broadway is just delicious. I thought 9-24 were really "in the pocket" in a way that 1-8 didn't quite seem to be. But you have the lines solidly in place! Originally Posted by andyb
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Friends on Sunday I fly out with my students for 6 weeks in Israel. Our internet is spotty, and time to play guitar will be hit-and-miss I (thought plan to take a guitar!!). So I might be able to post, or might not.
I'll miss the interaction with you guys, and I will especially miss the wonderful learning that we are able to enjoy together. You guys have helped me so much in working through these solos.
I hope you'll press on however you wish, even to Vol. 2 of Conti. I'll do my best to catch up when I return at the end of July.
Meanwhile, we'll be roaming the hills of Galilee, wandering the desert near the Dead Sea, fighting off the Romans at Masada, failing to walk on water at the Sea of Galilee, and digging in the dirt looking for bits of the ancient past!
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I love your alterations to the Conti solo. Bars 9 and 10 were bugging me and I didn't know why. Now I know !! I am going to try to play it up the octave like you did. Originally Posted by losaltosjoe
Bar 16 - I like the double stops better than the Conti riff.
Bravo !!
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Thank you Doublea (et al) for the encouragement. Let me share a few of my thoughts as I am working through this solo: Originally Posted by Doublea A
Bars 1-4: I played it pretty much stock but i really enjoyed how Lawson used the D9#11 chord in place of the Ab notes in bar 4. I may try (steal) that for the finale.
Bars 5-8: I played it straight. It is one of my favorite lines from these projects!
Bars 9-10: As mentioned, I transposed it up an octave as the low E (.053) on my Gibson L5 can get muddy. I threw in some trills to force myself to do something different than when we played the line in Autumn Leaves.
Bars 11-14: I played it straight.
Bars 15-16: This one was killing me. I just couldn't feel the triplet on beat 1. After noodling around for awhile and looking at similar licks from previous solos, I found a double stop lick from Green Dolphin Street that starts on beat 2. I ended up adding a quarter note rest and starting the triplet lick on beat 2. Bingo! For me, bars 15-16 flow much better!
Bars 17-18: As Lawson pointed out, starting on the downbeat of 1 makes this work.
Bars 19-22: Just noodled around with the double stops as written.
Bars 23-24: Played it straight.
Bars 25-32: 95% sure that I'll played bars these as written.
Cheers.
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Well done !! Originally Posted by losaltosjoe
Sent from my iPad using Tapatalk
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First 16 Bars
Here is my post for Bars 1 - 16 from Robert Conti's "A Train"
Bars 1 and 2 - This is my favourite line from the piece
Bar 4 - I added the chord to the Ab. I like the sound better.
Bar 5 - I like the triplet on Beat 2
Bar 6 - Treating the G7 like a G7b9 by playing a diminished lick over it. Brilliant.
Bar 7 - Nice use of Chromaticism over a tonic chord. Usually tonic chords are played static(ly) ? but by using chromaticism it gives the chord a sound of movement towards the next chord.
Bars 9 and 10 - My least favourite part of the piece. I like the way losaltosjoe played it up the octave. I think I will use losaltosjoe's idea for my next posting.
Bars 11 and 12 - Nice arpeggio for this awkward chord.
Bar 13 - I like the Eb sneaking in on that last half beat.
Bar 14 - Clever use of the b5
Bar 15 and 16 - Clever use of the non chord tones ( Eb and F# ). Bar 16 - the C6 is acting like an A minor
Let me know what you think
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I thought it was great Originally Posted by Doublea A
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Hi Doublea A -- I thought it was terrific. I also appreciate the notes. Cheers. Originally Posted by Doublea A
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A-Train Improvisation
Bars 1-24
My take on this one.
Mike
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Well done Mike, nearly there now. Originally Posted by MikeS
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Here's my post for the Conti TTI: Take The A Train solo (bars 1-32).
Please see post #69 for my notes on the solo. I played bars 25-32 as written. I plan on using the next week to work on a video that includes the melody and the solo.
Cheers,
Joe
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Originally Posted by losaltosjoe
Thanks Joe, sounds great as always. I look forward to your melody plus solo video.
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Very tasty! Well done! Originally Posted by losaltosjoe
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Joe, Originally Posted by losaltosjoe
Nicely done!! Looking forward to you next video.
Mike
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