The Jazz Guitar Chord Dictionary
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  1. #76

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    I like playing on GDS. I can think of lines to play and can play them.

    OTOH, for Cherokee, I think of lines to play and I can't play them because they're too fast. I can stumble though it with dotted whole notes or something, but it won't be what is in my head

    And, for a cutting contest, it's important to know when not to play.

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    The Jazz Guitar Chord Dictionary
     
  3. #77

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    Quote Originally Posted by rpjazzguitar
    I like playing on GDS. I can think of lines to play and can play them.

    OTOH, for Cherokee, I think of lines to play and I can't play them because they're too fast. I can stumble though it with dotted whole notes or something, but it won't be what is in my head

    And, for a cutting contest, it's important to know when not to play.
    Only way to play fast is practice playing fast

  4. #78

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  5. #79

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    I'm in favor of anything that will increase the amount of PLAYING THE GUITAR on this forum. Seems like we're in a down-cycle on folks posting samples of their playing. I'm a virtuoso talker, but pretty much a hack player, and I love to hear the range of ability and accomplishment on this forum, from beginners to pros. This cutting thing, all joking aside, promises to show what the high-end of our talent, or at least, our confidence, can do.

    I'll not be posting on this thread, which means everyone will have at least one thing for which to be thankful this week!

  6. #80

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    I could probably manage that Green Dolphin Street thing, but not Cherokee at 305. My limit is about 240.

  7. #81

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    graham you can join in gds by insulting either john a or donnie osmond

  8. #82

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    Ok but as far as insults go I’ve only ever managed about 10 ipm.

  9. #83

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    ....
    they synced it as best as they could, with Charlie Parker almost cracking up halfway through and almost getting Hawkins to cave too before someone off-stage tells him to knock it off.

  10. #84

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    Some misinformed person on the TGP forum said this film showed Bird 'mocking' Hawkins for being old-fashioned! Obviously they had no idea of the true context or why Bird was fooling around.

  11. #85

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    This thread called this interview to mind.


  12. #86

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    Not quite shreddy enough to be true 'cutting' and not quite tasteful enough to be actual music, here is my opening salvo:


  13. #87

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    While I've never been the victim of what I would call "intentional cutting", I've certainly been in lots of uncomfortable (musically speaking) situations where the tunes being called aren't familiar and my brain/hands can't quite keep up. The best part about it is that you get to make mental notes of where you couldn't hang and actually have a little more tangible feedback of what to work on.

    As for GDS, I can totally understand and have certainly been in a place where that tune would've intimidated me. It helps to have been there in order to show some understanding/empathy for those who are early in their journey.

    I'm embarrassed to say though that I hadn't yet touched Cherokee, let alone played at 280 bpm+ (usually prefer to practice at more 'lyrical' tempos) so this thread was a good kick in the butt to work on it a bit.

    Here's my (far from perfect) take from last night after practicing some, and apologies for all the mumbling and weird sounds:

  14. #88

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    probly the greatest jazz film ive ever seen Graham..watched it 5 times...synced an all...no ideA waht parker was doing but he was admonished by studio director to cut it out...lol

  15. #89

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    Coleman Hawkins & Sonny Rollins - Lover Man - New York, July 15, 1963


  16. #90

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    Ok heres mine... maybe don't listen before your turkey dinner, lost of appetite has been reported (via my gf, she's sick of this tune by now lol)


  17. #91

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    just need the vids from beau jackson and donnie osmond and i can start the voting thread (let’s save the comments on the performances for that thread)

  18. #92

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    MP3 Player SoundClick

    Here's my shot at GDS.

    I couldn't play Cherokee at that tempo.

  19. #93

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    Quote Originally Posted by rpjazzguitar
    MP3 Player SoundClick

    Here's my shot at GDS.

    I couldn't play Cherokee at that tempo.
    I have trouble HEARING Cherokee at those tempos.

  20. #94

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    Sheesh, 305? I'll try an's be up tomorrow. I ain't cutting nobody at 305 though!

  21. #95

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    At a public jam session in the city a couple of years ago, my buddy (also a guitarist) got on first after the house group had played for quite a while with some of the regulars; a couple of horn players were still on stage along with the pianist, bassist and drummer. Surprisingly, we were the only guitarists there. It was pretty clear that the pianist, there in support of another house member who was nominatively the leader, was in command and liked it that way. Soloists were mostly taking 2-3 choruses tops.
    My buddy called On Green Dolphin Street in C; the pianist nodded, but then said "No, we do it in Eb" and started to vamp, and the bassist and drummer joined in. My buddy had to confess on the spot that he didn't have the head down in Eb and had to ask the horns to play it. He took a good solo, but was not otherwise really much in on the tune. On his next tune, however, Just friends, which he plays very well, he began at one point during one of the horn solos to comp solidly with some nice shell voicings and rhythms, but the pianist gave him absolutely no room to go anywhere and squeezed him out, comping the entire tune incessantly with all of his ten fingers.
    I was up next and called Nostalgia in Times Square: played the head, in which the horns joined in, took the first solo and then laid back. As the second horn solo began, I imagined - foolishly - to perceive the pianist giving me an opening, so I started comping strong. As that solo went into its second chorus, I saw the pianist out of the corner of my eye suddenly stand up and walk off the stage in a huff. (Later I learned, he went to give my buddy an earful.) "Oh, well," I thought; and we finished out the tune. For my second tune, I called What is this thing called love? and played the head and two choruses in trio with bass and drums, then comped for the first horn solo, during which the pianist came back on stage. Suspecting nothing amiss, I passed the comping over to him for the next horn solo, after which he took his own solo - for about fifteen choruses, which, I have to admit, sounded so good that my hands remained stationary. Only with a final glare did he let me know when it was time for me to play the head out.
    I'm sure he thought he had shown me a thing or two, which, in fact, he had, but I still laugh when I think of how that unfolded.

  22. #96

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    Quote Originally Posted by Geechnyc
    At a public jam session in the city a couple of years ago, my buddy (also a guitarist) got on first after the house group had played for quite a while with some of the regulars; a couple of horn players were still on stage along with the pianist, bassist and drummer. Surprisingly, we were the only guitarists there. It was pretty clear that the pianist, there in support of another house member who was nominatively the leader, was in command and liked it that way. Soloists were mostly taking 2-3 choruses tops.
    My buddy called On Green Dolphin Street in C; the pianist nodded, but then said "No, we do it in Eb" and started to vamp, and the bassist and drummer joined in. My buddy had to confess on the spot that he didn't have the head down in Eb and had to ask the horns to play it. He took a good solo, but was not otherwise really much in on the tune. On his next tune, however, Just friends, which he plays very well, he began at one point during one of the horn solos to comp solidly with some nice shell voicings and rhythms, but the pianist gave him absolutely no room to go anywhere and squeezed him out, comping the entire tune incessantly with all of his ten fingers.
    I was up next and called Nostalgia in Times Square: played the head, in which the horns joined in, took the first solo and then laid back. As the second horn solo began, I imagined - foolishly - to perceive the pianist giving me an opening, so I started comping strong. As that solo went into its second chorus, I saw the pianist out of the corner of my eye suddenly stand up and walk off the stage in a huff. (Later I learned, he went to give my buddy an earful.) "Oh, well," I thought; and we finished out the tune. For my second tune, I called What is this thing called love? and played the head and two choruses in trio with bass and drums, then comped for the first horn solo, during which the pianist came back on stage. Suspecting nothing amiss, I passed the comping over to him for the next horn solo, after which he took his own solo - for about fifteen choruses, which, I have to admit, sounded so good that my hands remained stationary. Only with a final glare did he let me know when it was time for me to play the head out.
    I'm sure he thought he had shown me a thing or two, which, in fact, he had, but I still laugh when I think of how that unfolded.
    And you gave a lesson in how to just hang in there and be solid. No drama. You had me grinning. We've all known pianists like that; at least it sounds like he could play.

  23. #97

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    He sounds like a total pianist.

  24. #98

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    Quote Originally Posted by christianm77
    He sounds like a total pianist.
    As Joe Pass said, of pianists, "He has 10 fingers, 88 keys, and he's bigger than you."

    Pianists illustrate the axiom that "Power corrupts, absolute power corrupts absolutely." No musician has a harder time with "less as more" than pianists.

  25. #99

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    I guess the exception proves the rule. Bill Basie was an exceptional stride pianist, had chops like few others, but mostly played with two fingers when comping.

  26. #100

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    "Just remember, it takes 2 great guitar players to sound like 1 very ordinary piano player"
    -Barney Kessel