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Originally Posted by Herbie
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10-04-2021 05:59 PM
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Esbjörn Svensson died scuba diving; not a jazz way to go.
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Originally Posted by 2bornot2bop
But most piano players have ten fingers so mathematically it is the maximum amount of notes at one time. That was my only idea when I wrote that.
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Originally Posted by Litterick
In 2005 the EST played in Tampere Jazz Happening and I am happy that I was there.
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EST were a great band, and IMO Esbjorn a quite brilliant musician gone too young. It's one of my regrets that I never heard them live.
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Here he is playing burning shit on rhythm changes, for people who need their musicians to tick check boxes
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Originally Posted by Herbie
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Originally Posted by 2bornot2bop
Last edited by Christian Miller; 10-06-2021 at 04:07 AM.
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Originally Posted by Christian Miller
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I use triads a lot when I'm practicing because I like to use all types of voicings from basic harmony all the way through mega altered. If I were playing with a group, I would be embarrassed if I used them consistently tho haha. Just use them to punctuate certain areas. Most pianists wouldn't view playing basic triads as part of the idiom I don't think. As in comping with the triad of the chord and not using them in an upper structure or melodic shape sort of way.
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Originally Posted by Clint 55
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Originally Posted by 2bornot2bop
For another use that I think is cool, I like to throw in an occasional cross handed line when I'm on keyboard (piano or organ) that turns an ordinary left hand interval (even a simple triad) into the top of an inversion along with the right hand note(s) I'm playing below it.
Thee are no rules. Sometimes it's hip to be square
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Originally Posted by nevershouldhavesoldit
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Learn a little piano.
Current conversation trending mostly theoretical... as if one doesn't actually PLAY any piano. That's cool. Just maybe don't talk as if...
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Originally Posted by matt.guitarteacher
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Originally Posted by 2bornot2bop
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Originally Posted by nevershouldhavesoldit
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It's kind of true. Left hand triads basically aren't part of the idiom. You hear them occasionally on recordings depending on what you're listening to. Mod can accept triads because that can create the sound that they go for. Old skool stuff you almost never hear them. I use them because it's part of my style to sometimes be in the mode of just playing the song instead of it being 'a jazz song'. Or I'll use them in jazz to emphasize a tonic. I think in general, if you went to play real book with a combo and sat down and used a bunch of triads, people would be like gtfo lol. Or at least be thinking it.
Last edited by Clint 55; 10-06-2021 at 07:40 PM.
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Originally Posted by 2bornot2bop
"If Bird was alive, this would kill him."
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FWIW my first 3-4 lessons with Tal he had made some cassettes for me of Dave McKenna, Art Tatum, George Shearing and some private stuff of Eddie DeCosta. We spent that time, no guitar in hand, him pointing out what he really dug in the harmonies and solo runs, asking what I heard. He tied it all to how they handled their bass line as support and drive for everything above.
Cool approach to chord melody 101.
Group I played in, piano, me, drums in rehearsal the pianist and I would map our strategy out for not falling all over each other, bass, comping, etc. Get to the gig and somehow she managed to forget everything. Or didn’t care). We did some church work together and of course, same darn thing.
jk
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Originally Posted by 2bornot2bop
Listen to Bud’s left hand for instance. Or Errol Garner… Or for that matter Brad Mehldau who often favours triadic harmony. Or bloody Keith Jarrett for that matter.
This is silly. Good musicians can do what they want.Last edited by Christian Miller; 10-07-2021 at 10:38 AM.
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Originally Posted by Christian Miller
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Originally Posted by nevershouldhavesoldit
Left hand shell voicings + right hand extensions sound good and believably ‘jazz’, and they are taught to beginners for a reason, but to 1) imagine that this is how all jazz pianists played all of the time and 2) negatively critique a jazz musician of the modern period in the basis of what is ‘babas first modern jazz piano’ is so crushingly silly that it actually annihilates my brain.Last edited by Christian Miller; 10-07-2021 at 11:01 AM.
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Originally Posted by Christian Miller
Unfortunately, many well known musicians find a sound, style, or even a trick or two that makes them commercially successful and/or in popular demand. So they stop evolving and start playing that way all the time - and so do their acolytes. If I weren’t such a positive person, this might even make me a little sad.
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Originally Posted by Christian Miller
Elias Prinz -- young talent from Munich
Yesterday, 10:24 PM in The Players