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Can anyone suggest some great comping behind soloists on rhythm changes by a guitar player, in a sort of classic bebopish sense? I find I'm playing the same chord voicings over and over again. Not sure if anyone can tell at a jam session but it makes me a bit mental.
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01-19-2023 11:23 AM
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Masterclass...
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There’s this too (the chord shapes are also displayed on-screen):
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I can't hear very much PB in the mix there.
Originally Posted by mr. beaumont
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Lol, that's because I meant to link to the video grahambop pulled up, but got distracted by that burning Cottontail Originally Posted by sully75
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hah ok I was wondering. Turn PB up!
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that about nails it thanks!! Originally Posted by grahambop
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love the F7#9b13 chord he plays in the first little bit...took me a second to figure out what he was doing. This is great.
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I always enjoy Sonny clarkes comping on this
Weird, huh?
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One thing I really noticed when Peter Bernstein was on Emmet's Place was how much he sat out.
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RC is a great time to reach into the "riff bag" if there's another comping instrument. Originally Posted by AllanAllen
Bernstein's "whole A section is I and V" idea really works...as does playing the blues over the whole A when soloing...now, if you grab some clusters from the blues scale, and create rhythmic motifs...oooh, now we're talking a very simple way to sound great.
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Google "Barry Galbraith comping" and you will find the PxDxFx the book includes 2 rhythm changes etudes
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I transcribed that chorus as soon as it went up and posted it to Pete's Facebook group. Maybe the person who put the video together used my transcription as a reference. At any rate, here it is in conventional notation: Originally Posted by sully75
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When Duke Ellington performed Cottontail with Ben Webster, or with Ella Fitzgerald, three minutes worth of choruses said it all. Yes, the limit of a phonograph record. They said what they wanted to say and took a bow. Perhaps what you're playing would be just fine and dandy with a normal number of choruses. Play along with these three minute recordings and record it to give a listen. Originally Posted by sully75
It mat be that 10 minutes of aimless meandering at a long-winded solo-fest is just too long for a Rhythm Changes contrafact. Not just guitarists, but bassists, drummers, pianists and even banjoists can only play RC for so many choruses before exhausting their inventiveness, losing interest, resorting to continual repetition, or even to stop playing altogether.
At the best sessions, one knows how many choruses they'll be playing before starting the tune - and who's soloing on which chorus. Then the rhythm section members can plan their activities appropriately. Especially if they are not seasoned players who have known each other over time. Better to bring a variety of tunes to a session; enough so that tune-burnout doesn't occur.
As a listener, I can't take an RC contrafact beyond 3 mins. The longer the ham stays on the table, the stinkier it gets. As a bass player, I would never take a bass solo beyond one chorus. It's appreciated better. When the bassist goes on and on you can almost hear the audience sigh of relief when its over. Of course the long winded bass solo does provide your date a rest break...
Also, the jazz tradition always had vocalists. There was a symbiotic balance of singing and instruments. There were dance numbers and there were show numbers. The evening had no room for hogs.
Jazz is an exhibit at a museum. Play or improv on it like it was meant to be or call it by some other name. At least the Jazz-Rock Fusion guys were honest. The Golden Age Of Jazz may have gone, but it may have been replaced (usurped) by The Twenty-First Century Ham...
It seems that we've lost all conception of our culture because the torch was never passed. It's surprising to see the amount of sleep-walking that goes on today. Just sayin'...
Barney Kessel... for three minutes!
Last edited by StringNavigator; 02-21-2023 at 05:15 PM.
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