The Jazz Guitar Chord Dictionary
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  1. #76

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    Quote Originally Posted by christianm77
    A friend of mine (Alison Neale, a very fine altoist in the Paul Desmond tradition) recently recorded an album with Peter. This bit of review made me laugh:

    On this occasion her companions are Dave Green and Steve Brown on bass and drums respectively, and the celebrated New York guitarist Peter Bernstein, who appears to have recorded with everyone. His technique is amazing, using a seamless combination of single-line and chordal playing, and his harmonic ingenuity is endless.
    In fact it gets a bit wearing after a while; an occasional touch of the simple and obvious wouldn’t have gone amiss.

    Ouch!
    The second dumbest piece of music criticism I've ever read. The dumbest was this review, specifically this quote:

    Metheny, though he knows his way around the jazz guitar language and is a fertile soloist, sounded out of place in serious swinging music, as if he were a visitor to a foreign land, having taken a few Berlitz courses.
    I was at this concert. The seat next to me was roped off, with a card noting it was reserved for this critic. The rope remained intact and the seat remained empty for the entire performance. The cynic in me wonders what the reviewer you quote had actually listened to (if anything).

    John
    Last edited by John A.; 12-09-2020 at 04:03 PM.

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    The Jazz Guitar Chord Dictionary
     
  3. #77

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  4. #78

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    Thought I would try and give some simple advice...

    Most approach blues and just comping in general from ... working and organizing from the Roots.

    I also approach blues and comping in general from... working and organizing from.... the Lead Line or melody created on top of chords.

    So just like we create comping parts.... created from the chords, based on the Roots. We embellish, add, expand, create relationships, etc...

    You can also use the lead line created on top, a comping melody or counter melody as the harmonic reference for creating comping parts. (a different or secondary level for reference)

    It's an expanded way to organize how one works with Harmony. Instead of always using the "roots" or basic changes as the harmonic source for playing....Expanded Tonal Targets based on melodic licks.

    Think of the 60's approach of using 4ths or quartal comping sound, your expanding the organization of creating voicings....the chords. The approach is different, but the concept is similar, your expanding or changing where the chords are created from.

    Most enjoy using and developing from the melody, basic M101 improv approach, right. WE embellish and create from the melody etc... So using short melodic phrases or Licks that imply a Harmonic sound, is basically the same thing. And with Blues.... the licks are endless. And we all already have them embedded in our heads etc...

    As with most shit.... when you actually start using, it works much easier, faster and you can repeat with organization.
    You can use trial and error, theory or whatever you choose.

  5. #79

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    Quote Originally Posted by John A.
    The second dumbest piece of music criticism I've ever read. The dumbest was this review, specifically this quote:



    I was at this concert. The seat next to me was roped off, with a card noting it was reserved for this critic. The rope remained intact and the seat remained empty for the entire performance. The cynic in me wonders what the reviewer you quote had actually listened to (if anything).

    John
    Or the prominent UK critic who described Brad Mehldau as having ‘negligible jazz feel.’

  6. #80

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    I'd be careful not to overthink it. Joe Pass blues will give you plenty of food for thought as far as chords. Benson has interesting voicings.
    The rhythms will just happen on it's own.
    There's a video right here on the website of Benson doing jazz blues with a tap dancer. It's really good. Here it is;