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Thanks, I'm looking forward to it. It's a fundraiser for my girlfriend's choir. Like the studio that runs my ensemble, it's a community organization, so A. I want to help out, and B. I feel a certain affinity between these kinds of organizations. All the people in my ensemble are folks who played as kids, in school and elsewhere, but for whatever reason, chose not to pursue music as a career. Similar thing with the choir. Organizations like these allow us to have an outlet while someone else does the heavy lifting of organizing things.
Originally Posted by TruthHertz
There's another group playing, which I believe is a bunch of kids. Watch them completely upstage us.
UPDATE: The gig was fun. We played pretty well, I thought, and the kids didn't upstage us, although they were decent. The pianist looked like he was about 8. There were also singers who did solos and small group things. What's interesting about that is that one woman sang "Wave" with her husband on guitar. They sounded great. Her husband obviously has a lot of familiarity with the real Bossa style. They are of some kind of latin-american ethnicity, though I don't know if they're Brazilian or something else. Anyway, it was good fun. I was so glad to have my regular group there instead of a pickup group. We're all pretty comfortable playing together at this point, which definitely removes a good chunk of stress from the gig.Last edited by Boston Joe; 02-09-2018 at 12:04 PM.
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02-05-2018 02:54 PM
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okay I'm ready for something new. I went up and down the roller coaster on both A Train and Freight Trane. At one point it got really bad, like I had totally gotten worse and I got very discouraged. But I kept on keeping on and came back up from the depths of despair.
I'll post a couple clips later. I was having trouble with my little cheap recording set up and I decided to upgrade to something not as problematic so when I finish that I'll post up my progress.
I also have a gig coming up next week that has me wood shedding a bit for that.
but I'm very much on board for something new so I'll start tackling the last two songs now.
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I’m with you man. I’ve literally done nothing practice wise except play the head of freight train over and over and over and over again. I have so much more work to do on the song, but I’m definitely in a practice rut right now. Bring it on David I await Sunday! Originally Posted by Michael Kaye
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Well of course the tune this week is My Funny Valentine.
It's a tune that can be simple, beautifully simple, or it can be a worthy vehicle to experiment with.
Written in C minor, the piece does shift into its relative major in bar 17 at the bridge. It explores the major aspect of the key until it returns to the minor again.
One thing you'll notice in this piece, is the movement of a voice while the chord progression harmonizes the first and third system (line of music). In this case the C-, the C-(maj7), C-7 and C-6 might at first look intimidating but these are just a simple C-triad with a voice moving chromatically through it. Solo these as a C minor vamp, or if you want, move this chromatic descending line (called a LINE CLICHE in musical lingo) into the bass. Then you can explore the sound of C- with a bass line movement.
If you care to look at this bridge section in a looser way, as a major almost modal vamp, then check out the Mick Goodrick substitutions he uses for system 5 (bars 17-20). He suggested the 4 bars could be comped with Bb/Eb | B/Eb | C/Eb | B/Eb or even further if you choose and then rejoin the written changes where you choose.
So one takeaway you might get out of this week's offering is the analysis of a piece that looks like unfriendly chords may actually be quite elegantly simple... if you know how to look at it.
You'll see I included the written VERSE of this piece. This is played like an introduction and in broadway productions, it's the transitional part between the spoken dramatic segment and the musical segment, offering an almost soliloquy reflection. Most jazzers skip, have forgotten or never knew the verses of the standards they know (Ella a notable exception), which is a shame. I think they're sometimes more beautiful than the actual song we know.
So have some fun on this Valentines week. Take this piece apart... and don't forget to buy your partner flowers.
David
Ella with the verse:
Jim Hall and Bill Evans. Listen to these guys listening, and as you get to know the piece, listen for the way they avoid the obvious, rhythmically, melodically and in the comping.
Chet Baker's version was very popular
And of course Miles
Hope you have a good time this week.
As usual, all comments and thoughts are welcome. Talk about what you're doing.Last edited by TH; 02-11-2018 at 01:47 PM.
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Ah, good! I really like playing this tune, and don't get to do it enough because nobody likes it when someone calls a ballad at a jam session. I have played it a good deal in the past though, and would love some fresh perspectives on working with it.
Re: verses: Tony Bennet usually includes the verse, if there is one.
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Ahmad Jamal with a fast waltz version:
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Is everyone watching the Winter Olympics in South Korea? Mick tells a little joke: There are THREE Koreas, North Korea, South Korea and Chick Corea. (groan. Oh well)
I thought it'd shake it up a little and introduce you guys to a tasty little piece written by Chick Corea. It's Chick's tribute to pianist Bud Powell, appropriately called Bud Powell. It's got elements of a bebop head, it's got a middle section that changes to a latin feel, it's got a nice melody that you fans of Freight Trane (last month) might like and it's got a lot to unlock by working with. I'm going to spend two weeks on this, since many of you had said you enjoyed putting a solid amount of work into the last bebop head.
Bud Powell is one of those vehicles that has a very singable melodic line and still holds enough twists and turns to be challenging. Perhaps we could explore ways to approach this with soloing ideas we can share. Any thoughts?
I'll begin with a glimpse of the melody in F. Lots of opportunity to work with our secondary dominants. Lots of space to find the inspiration to your own solos. The form is AABA with a little switch up to latin groove in B.
Have fun over the next couple of weeks playing Bud Powell.
David
Is this clearer?
A Chick version with a great band
A duo with Chick and Gary Burton
Michael Brecker
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I recently attended a master class with bassist Dave Holland. There was a very well played high level performance by an ensemble; something to be be proud of on any level. After all the praises for a job well done, "good" solos, Dave isolated the duo of the guitar and the horn player. He asked them to play the (very complex bebop type) head and play that. He stopped them 3 bars in, asked them to play it again, stopped them again and they waited for his commentary. After a long thoughtful pause, he pointed out something he heard: The notes were there but there was no contour to the phrasing, the difficulty and athleticism of the line was masterfully highlighted but the feeling of natural ease or meaning was somehow elusive.
Then he sang the line, had them sing the line, and he did something brilliant. He broke the line down to quarter notes, then down to essential notes even longer. He had them play those notes and made sure they felt the weight of those notes from and through all the other embellishing notes... then he had them play it again. World of difference!
We often learn a piece for its notes, and not its essence. We can learn to transcribe difficult notes so we can play them from memory, yet the process of "What did the soloist consider essential?" "What were they working with and working towards?" can remain completely off the radar.
So my thought of the week an especially in learning and soloing on Bud Powell, what are the essential notes in this tune? Rhythmically, harmonically, melodically... how much can you reduce this piece and still have it be this piece. Then re-build your solo, the head, the way you hear this tune (and any other tune) from this lowest common denominator.
It could give you a strong reason and guide system for making really memorable solos.
Have fun!
David
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David, I’m wondering if you would humor a request to post the names of all 52 songs. If I could create a massive playlist with all the tunes well ahead of time I think it would help me because I am not familiar with many of the tunes. Just a thought—cheers and thanks for all your work!
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Yikes. I thought my days of data entry were behind me! Originally Posted by wzpgsr
OK I'll take this as an opportunity to post a reminder of our purpose with this thread and how we're doing.
Each tune is to be taken from SLOW speed at the beginning of the week to YOUR TOP SPEED by the end, regardless of the actual speed of the tune.
We are using the unique character of each tune to make you proficient in the language of jazz. That means a commitment to facing the challenges and broadening your toolset daily.
Each month we begin week 1: basic essential standard. Week 2: a more complex piece. Week 3: A challenging jazz standard with some twist or work-worthy aspect. Week 4: An interesting piece you may not know but with some exceptional beauty to it.
Of course I may make adjustments as I go along but so far this is what I've got. I have planned these to introduce things (like secondary dominants, embellishments, bebop language...) in a progressive manner but all are worthy of the attention and all can and should be looked at much deeper than a week's attention. Still, at the end of this year, you will have something that I'd say most jazz students in a four year program won't: a real practiced familiarity with the jazz language and an awesome repertoire.
David
October
Autumn Leaves
All of Me
Just Friends
Detour Ahead
The Great Pumpkin Waltz
November
Blue Bossa
How Deep is the Ocean
Autumn in New York
Answer me My love
December
What is This Thing Called Love?
When Sunny Gets Blue
The Christmas Song
Peace
January
Take the A Train
All The Things You Are
Freight Trane
Ida Lupino
February
Wave
My Funny Valentine
Bud Powell
Throughout -by Bill Frisell
March
On Green Dolphin Street
Cherokee
It Might as Well Be Spring
Someone to Watch Over Me
April
I'll Remember April
My Romance
Alfie
Send in the Clowns
You Don't Know What Love Is (an extra week in April)
May
Some Day My Prince Will Come
Like Someone in Love
Body and Soul
Soul Eyes
June
One Note Samba
Round Midnite
I Should Care
Falling Grace
July
Meditation
My Foolish Heart
Isotope
How Long Has This Been Going On
Coral
August
Alice in Wonderland
There Will Never Be Another You
Stardust
Paramour -a gorgeous tune by John Abercrombie
September
Wave
Have You Meet Miss Jones
A Nightingale Sang in Barkley Square
The Apartment -billy wilder
and maybe a Jerry Bergonzi contrafact to bring us out.Last edited by TH; 02-21-2018 at 07:13 AM.
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Thanks David! This will help me tremendously.
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You guys have been pretty quiet on Bud Powell, which I'm working on unlocking the charms of for a second week. I do love the way the piece changes harmonic focus so elegantly and the head is a wonderful melodic gem of bebop line.
For those of you who want to move on though, I'm going to drop you into a wonderful piece, a song that breathes as much as any tune I've ever come across. With long measures of tension and release, you can really learn to use your space wisely with a piece like this. It's broad enough that you can fill your measures with notes and arpeggios, secondary dominants and substitutions, and more of course... but the real lesson here is finding the beauty of a more essential approach and making a statement with less.
Listen to Bill's example and see how he builds his solo. It's pieces and approaches like this that give me such respect for Bill Frisell as a jazz guitarist. To me he's that most unlikely marriage of Jim Hall and Jimi Hendrix.
Hope you have fun with this tune!
David
Bill's original version
Bill and Jim. Great version, but crazy video from a hand held less than steady hand
With Petra Haden
Hope you enjoy working with this
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im still with you David. I have just been. super busy and I finally got through the gig so my time has opened up and I'll jump on this more regularly. looking forward to catching up!
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Oddly enough, it reminds me a little of Zappa's "Watermelon in Easter Hay". (Mostly for the ostinato line.)
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In preparation for this week’s tune here is an Apple Music playlist. (Sorry non-Apple Music folks.)
On Green Dolphin Street on Apple Music
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Well we've got our first week of March and it's our tune of fundamentals. This week's tune Green Dolphin Street is a great tune of Major to minor. The tune alternates between areas of Major and Minor, and we need to keep in mind that major and its relative minor are separated a minor third apart.
The form is A B A C
A part is major to minor turnarounds.
B Part is a major turnaround in the major, then a major turnaround in the relative major of the minor.
C part is an elaborate series of turnarounds that bring us back to the starting tonic.
This piece is a great piece for working with strong related tonalities connected by a major minor relationship.
In addition, I've included a Jerry Bergonzi contrafact that will give you a chance to explore this piece, an interesting workout in melodic and harmonic variations.
The Real Book lead sheet is C to Cminor (Eb). The contrafact is in Eb to Gb so a nice parallel workout for you already familiar with the piece.
Hope this is a fun piece for you. Work with it, get it in your ear and off book and have fun; you'll soon get the movement of the tonal areas and how they connect. If you have any suggestions or questions on how to look deeper into improvising on this piece, post your observations and questions. Have fun
David
Bill Evans version after having worked with Miles
Miles from the 1958 sessions
Sonny Rollins, a master of theme and variation
I tried to find some footage of Jerry's 42nd parallel, it's one he plays live but I guess it hasn't been posted.
It's important for us to share some of the process of your work with these tunes, and it's important for me to know you guys are out there, so feel free to contribute, or just grumble over what's working or what's not. We're coming up on 6 months now! Hope you're getting to know this thing called jazz a little better!
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Hey David, could you elaborate a bit more on the A section as “major to minor turnarounds”? I’m having trouble understanding it that way. I’m thinking C as the key center for bars 1-2, then Eb maj as the key center for bars 3-4 (C- being relative minor of Eb). I’m hearing that brief Db/C as a tritone sub back to C maj, but I’m not sure how the D7 fits into the notion of the turnaround. Maybe because it’s the V of the G7 that the Db/C is subbing for?
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Still here...regards to all...
Allways liked this version:
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Yeah, it's a secondary dominant leading to the tritone sub of G. If you sub Eb for C- you get that nice descending Eb>D>Db>C. Originally Posted by wzpgsr
But even when it goes to minor, I still hear C as the tonic so maybe natural minor isn't the way to go there. I remember hearing a guy tell a story about how he was playing with some older guys, and they did a tune like this, and one of the older guys (horn player) kept playing E > Eb (notes not chords) to him. He finally figured out that the guy was telling him that that was the only movement he needed, which implies that he was suggesting melodic minor.
I'll have to experiment a little when I get home.
Edited to add: I just noticed there's a Bb in the melody on the C-. So maybe not melodic minor. Maybe Dorian.Last edited by Boston Joe; 03-05-2018 at 04:05 PM.
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Having fun with this one. Feels good to be back in the saddle. Pushing really hard to not make the first few bars sound like “California Girls.”
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In listening to my recorded session from the other night, it dawned on me how, even though I am familiar with the melody, when I’m playing this tune, and most tunes, I still tend to think of them as isolated groups of two fives and resolution. I really need to focus on embellishing the melody more, because often times the phrasing doesn’t necessarily dictate that moving to the I is the resolution of the phrase. I’m not sure if I’m explaining it very well, but just something that I stumbled on while listening.
Also, I’m noticing that when playing at a slow tempo it is very hard for me to play eighth notes without my playing sounding stilted, like I’m struggling so hard to count the beats. Listening to my recording, it feels very plotting. As if I’m ahead of the beat and holding notes a bit longer than I should and then really pounding down on the strong beats. It sounds firced and very amateurish.
When I stop thinking about the beats and open up, everything seems so much more natural and swinging. I will try to post a clip demonstrating this in a little while.
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I know exactly what you mean, wspgsr. I am really paying attention to melody. I've been struggling with the exact same thing - cookie cutter "riffs" that aren't necessarily "wrong" but don't groove with the individual song. I've been noticing that my "solos" can just be transplanted tune to tune. There isn't enough of a special quality that marks the tune I'm on. It's a cousin to "rambling", I think. I'm improving but I'm still fighting those safe places and canned "riffs" that just sound, I don't know, mediocre or something. I do notice that spending a ton of time on the melodies seems to pay off better but it takes me a long time to internalize it. I really think it's key though. Not there yet but I'm diggin the ride.
btw, a couple weeks back, somebody did a really nice solo in the "take the A train" thread song of the month. I don't know if you heard it but it's a sweet little solo that does exactly what we're talking about. I'll have to dig it up and reference it here. I want to transcribe it. It's not complicated, it just fits th tune so well. It's like a legit solo but you instantly know what tune it is even if you hadn't heard the melody.
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Don't mean to jump into a thread that I only "lurk" in to get ideas, but this comment hit close to home. Originally Posted by Michael Kaye
My teacher told me long ago that you should recognize the tune (during a solo) inside of three minutes or one of two conditions exist; your repertoire is weak / the solo is poor...the soloist has lost the listener.
Just recently a lady approached me about playing guitar and asked about my choice of genre. I replied jazz and asked if she like it too. Yes, she said unless the soloist goes into outer space for 20 minutes and I forget the tune. I believe she described 90% of the average listener.
So, I lurk here for tunes I've never heard (thank you group and OP TruthHertz) to cover the first problem.
We may need a step by step solo builder thread to take care of problem number two.
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Originally Posted by wzpgsr
It’s coming up on 6 months that we’ve been becoming partners with the Song. I’ve been thinking that about now, it’s a good time to think about the difference between being “crafty” and creating a good solo… making “art”.
For many years now, I’ve been privileged to work with groups of artists, improvising musicians, writers, artists, poets and song writers on a regular basis. We find the music in the word, the grammar in the musica line, the rhythm in the painted line, the shading and colour in the musical phrase. To each person’s art, there’s always a surprise at how similar the problems we come up against: Getting out from under what we’ve been taught, falling into cliché, fingers playing the same patterns, beginning to write without an idea of why… yes we know a lot of “whats” and “hows” but nobody ever talks about Why.
When you’re working with a model, drawing or painting a picture and you just jump in, you’re very likely to wind up with bad proportions, an arm that doesn’t fit on the page, a head that’s out of proportion. Artists quickly learn that having some concept of what they’re doing ahead of time helps to make a convincing whole by the end. Your type of line, your shading, your use of space becomes more convincing as you pay attention to consistency. Consistency in your choices, awareness of your options.
The same applies to constructing a solo.
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So we’ve been learning to see pieces in areas to be played within. They might be tonal areas, an area of movement leading to an area of rest, or even an entire A section contrasting with the B or C section. As you look at these areas, or mini canvases, you can look at them as Originally Posted by wzpgsr
- A bunch of scales and II V’s you’ve practiced, then plug in. or
- A synthesis of options formed into a memorable statement that can be developed.
A lyric writer might fall into phrases “Woke up this morning…” or words that rhyme but don’t carry a strong sense of telling a story.
We can address this by playing with some idea or motif or use of dynamics, sound or approach (staccato and legato. Soft and louder) and paying attention to what you played even after it’s played.
How many times does the thought process you began a solo with have anything to do with how you ended?
Space is also really important.
Last Monday Jerry Bergonzi was playing his weekly gig. I love the discussions he has with his sidemen before the gig. This week he was talking about the problem tenor players have with not being able to use rests. Solos begin in beat one. The eight note rest is a crime. Play what you practice but don’t use it in context or space. He pointed out recordings where seasoned players have the vision to wait even a few bars before they start to solo. It really changes the opening statement. Try it.
Now this idea of ideas coming from someplace, then going somewhere. Let’s really think about that. We play turnarounds as a bunch of proper notes on II, then a bunch of proper notes on V and then a bunch of proper notes on I.
But it’s much more important to hear WHY this is. A turnaround is a framing preparation for the familiar. It’s movement setting up rest. It’s tension leading to release. If you just blindly transcribe somebody’s II V I and plug it in to your own lines, sure it’ll work, but you’re missing all the trial and error that person went through to work out note choice and WHY.
Last week I gave you guys Throughout, by Bill Frisell. That piece is a masterpiece of tension and release. Not as turnaround II V I but as tonal textures of tension/release, yin/yang, moving and rest. These are in very long areas but how you do them, and how you follow the next wave, and how you ride it… that’s finding meaning in the notes. That’s why that piece is brilliant. Take that feeling, the notes you explore and find in a piece like that and find a way to employ that process to changes in a piece.
You asked about turnarounds and why I saw these parts as turnarounds. Learn to see a turnaround, not as an obligation of notes, but as a flow of idea to a goal. Then you can see the getting there as being different from the point of rest. Then we can set up our mindset so we can start to use substitutions and “outside” passages. First step, know your canvas and know your options.
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