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Originally Posted by frankhond
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10-03-2020 09:36 AM
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Originally Posted by frankhond
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Originally Posted by frankhond
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Originally Posted by Hep To The Jive
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Originally Posted by grahambop
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Originally Posted by frankhond
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Originally Posted by Hep To The Jive
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Freddie Green, big-band, and Django-style players use the four-in-a-bar comp. It is stylistic so belongs to certain genres within jazz. It might sound a bit strange to break out into the style in a modern jazz setting where band members expect a looser, more minimal accompaniment. Having said that the style can be adapted to many situations. For example, if you watch John Pisano he plays with a kind of broken-up four-in-a-bar. If you watch Martin Taylor in a duo situation, he comps four-in-a-bar block chords—even over bebop—but keeps his bass moving. You're right in that the style takes time to master. It primarily serves to drives the rhythm. Modern jazz comping also requires time to master, but doesn't drive the rhythm. It outlines harmony offering alternative interpretations, however, confusion sometimes arises where rhythm is concerned. Improvising a lot rhythmically when comping can be a distraction when the accompanist is trying to stand out. Personally, I like four-in-a-bar, or a less complex rhythmical comping with clear sign-posting. Nothing wrong with hitting that chord on the first beat of the bar where it matters IMO.
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Originally Posted by vsaumarez
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Why can't "modern" compers play like Freddie Green?
Just because they are not Freddie Green
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Is this playing like FG?
Inviato dal mio iPad utilizzando Tapatalk
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Why can't "modern" compers play like Freddie Green?
Sign of the times. I read that as 'Why don't modern computers play like Freddie Green?'
Sorry, carry on... :-)
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Seems like a good time to put a link to that FG site again. Lots of great info about the style (and associated comping styles) here:
A Comparative Study of Rhythm Guitar Styles
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Originally Posted by user404
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Some good FG here, you can hear him quite clearly at about 1:30, also at 5:20.
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Originally Posted by user404
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Originally Posted by pcjazz
I think that many "modern" player wants to focus on which scale to use over a chords but not intereseted about rythm.
something like "Malcolm young vs Angus" (someone talks about acdc)
So... How to improve my rhythm FG swing style? any books/video/method?
thanks
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User404, check out the Matt Munistieri course on Peghead Nation website on early jazz rhythm guitar.
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Great suggestion! I was struggling with a book to recommend tbh.
You need to hear and feel it, so video is a much better idea than books. And Matt is one of my favourite rhythm players, sure for many others too.
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Charlie Christian was a superb four to the bar rhythm player. Something overlooked about his playing I think.
Also Oscar Moore was a master of the art too!
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" Only if you are a guitarist on a swing scene, especially playing for dancers, you are good at it (comping)."
Hep To The Jive
Hi, H,
I don't know how I missed this line the first time through but this is, for me, the entire nut in the shell. And, your comment applies to all dance music. When I was playing full time--middle 60's through early 80's, the bands that got booked all the time were the ones who could swing because people who went to "shows" wanted to dance to the music. Music wasn't a parlor sport. You got your best threads out of the closet, a few dabs of Brylcreem in your hair, a splash of English leather in appropriate places, and your most comfortable shoes. And, you went for the music and to dance(did I mention ladies?). And, the bands that were the most popular were the best ones for dancing. Implicit in this, of course, was the bands ability to "swing" whether it was R@R, R@B, Funk, Big Band, etc. And, that meant that the *rhythm guitarist had to keep the beat going along with the drummer and the bass. This is no different in Jazz although the vagaries of rhythm are more interesting and complex.
So, when popular music and Jazz(swing/big band) transitioned from a dance form to a parlor art, rhythm took a dramatic shift into something less visceral but more cerebral. . . and, for me, this was the coup d'etat for the popularity of Jazz among the masses. Play live . . . Marinero
*(see above) When I first started forming bands in the 60's, guitarists were divided into two groups: rhythm and lead guitarist--both having a defined function within the group. I wonder if groups still use these terms today? M
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and now we have a very popular vintage scene with that same music (old school jazz, rock and roll and so on) repackaged for young people.
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Here's some true Old School Chicago style dance. Hope you enjoy! Play live . . . Marinero
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Originally Posted by arielcee
1. Budget cuts in the arts (STEM is the future!)
2. Transformation away from traditional high school band, jazz band and chorus towards more “relevant” and “creative” approaches - i.e. making beats and writing hip-hop “lyrics” - learning to strum and sing Beatles songs is about as historical as you can hope for.
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Barry Harris had some very interesting things to say in yesterday’s Zoom class about the virtues of straight 4/4 rhythm as exemplified by Efferge Ware accompanying the young Charlie Parker on My Heart Tells Me and by Bud Powell behind Bird and Diz on the Massey Hall version of ATTYA (along with some highly critical comments about Mingus on the latter). He was disagreeing with a guitarist who found it too “old-fashioned,” pointing out the rhythmic freedom it affords the soloist when done properly.
Last edited by pcjazz; 12-20-2020 at 04:31 PM.
Gibson Les Paul '50s Tribute
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