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Originally Posted by christianm77
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02-16-2020 04:38 PM
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it's the phrasing, the little baroque embellishments, the quotes. the rhythms of course. but most importantly it's that in-your-face quality, that is a vital part of bop but is mostly overlooked these days. this is why to my ears grasso's low-key approach sounds not really like bud powell or bird. i hear no sense of urgency. it's all well rehearsed and impressive. but all bop styles need to kick ass to an extend imo. like bird playing white christmas with an almost punk rock attitude.
Last edited by PMB; 02-16-2020 at 10:40 PM.
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Originally Posted by djg
DB
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tiny grimes on tenor guitar...very early on with bird..grimes had great pedigree...had played in art taum trio with slam stewart
bird also played with barney kessel, arv garrison and bill d'arango early on...the latter was a pretty good bopper, before he disappeared back to the midwest
nobody did it better than jimmy raney..he was a true bopper...a bird disciple...& of the era!!
cheers
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I always liked the Tiny Grimes sessions, despite Parker's superiority Grimes would always dig in and blow.
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Bebop Jazz Guitar Licks - Classic Bebop Sound Decoded - Advanced Jazz Guitar Lesson
How Charlie Parker Licks can help you play better Jazz Guitar - Bebop Jazz Guitar Lesson
others exercises
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I'm not much of a "learn a whole solo" guy, more of a "take the parts I like and run" kinda player. But that's more on the constraints of time, really.
I'm not sure what bad could come of trying this. Lawson will likely find out that a lot of Bird sits like crap on the guitar and it's impractical, but he can learn phrasing ideas, and assuming he's paying attention to the harmony as well (which I'm sure he is) he'll learn a lot about how Bird approached different common movements in this music, as Donna/Indiana has a bunch of them.
It's music, not brain surgery. We can fuck up a few times, world keeps spinning.
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I was not planning to post anymore on this thread, but the fact is, I gain so much from the observations, insights, and advice that you all give, and also, this is my only real jazz guitar "community." You all are my teachers, but colleagues, my audience, and my critics. So I realized that I want to keep posting here as I make progress simply as a way to be accountable and gain insight as I go.
So the whole debate about slurring that kind of went of the rails actually struck me as something worth working on. I decided to slow it down a bit, to maybe 170, and try to adjust fingerings where I could slur into the downbeat. I think I also got a little sloppy slurring a lot of other stuff, but I'm having fun with the solo and feel like I'm making some progress.
I really do appreciate observations, things that I'm hanging up on you notice, and advice for making progress.
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I'm glad to see you're sticking with the thread! I really think the tune holds up well at this tempo. Maybe it's not full on Bebop, but it sounds good to me. So much smoother, and it swings nicely.
I actually started working directly on hammers, pulls and trills last year. Very boring exercises, but I think it's helped me to play these elements with more clarity, more 'shape' and a better feel.
I was led to believe that alternate picking every note was the real way to play jazz guitar when I very first got involved. This came to me through a guitar buddy who actually took some lessons. It was reported to have come down from J. Smith himself. A lot has happened in jazz guitar education since then. (late 60's)
I think you're moving in the right direction by slowing down and having some fun. I've said this before, and I've been caught in the trap a few times myself: if playing just becomes a series of problems to overcome you soon lose the true joy in playing actual music, and in the end that's really what it's all about. Sometimes we need to temper our ambitions a bit and have some patience.
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Originally Posted by A. Kingstone
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very nice and enjoyable..great tempo....worth a second replay..
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Originally Posted by lawson-stone
1. Have you adjusted the pole pieces on your pickup? The top couple strings sound very thin compared to the great tone on most of the guitar.
2. The only thing that took away from the performance were the couple spots where notes rang into each other, but I think I saw somewhere else on here that you're aware already and working on it.
You're sounding pretty solid at this tempo.
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I like the slurring effect, it makes your playing sound more relaxed and legato. I do it quite a bit myself, probably influenced by listening to Wes Montgomery but also because it just seems to work better for me than picking every note.
I was going to write this in French, but then I considered your blood pressure, so I didn’t.
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Originally Posted by mr. beaumont
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Originally Posted by corpse
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Originally Posted by corpse
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Originally Posted by lawson-stone
edit: Strings make a big difference too
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On mine I have the high E pole piece up quite a bit, and all the others down at the same level.
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So I go back and forth between the 16" and 17" guitars, 24.75 and 25.5" scales. This L5ces just sounds so sweet I wanted to post this clip. The amp is a Fender Princeton Reverb ReIssue, the Sweetwater Limited Edition with the 12" Cannabis Rex speaker. This amp just sounds fabulous; I hope the recording here captures a sense of it. ON the tune itself, I'm working on the legato feel, slurring esp. to the downbeat, and generally easing the tempo up.
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Originally Posted by grahambop
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Excellent, Lawson. You're sounding (and looking) so much more relaxed in these last couple of clips.
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This clip isn't much different, but playing this morning it all felt so much more fluid, smoother, somehow. Still mistakes, but it all seemed to flow so much better than before. Posting this just to log that moment. I'm sure it felt a lot better than it actually sounds, but there you are.
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So this is the last 22 measures of Bird's solo, played with the recording slowed down to 170 bpm. I am learning this is nothing like playing with the recording to get nuances of time and feel better. I go through this little segment 3 times, one each on an Epiphone Zephyr Regent Reissue, a Gibson L5ces, and a Peerless Monarch.
One feature of Bird's solo that intrigues me is his re-use of ideas between the two choruses. It's a heavily used device in this solo.
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So here's Bird's two choruses of solo from the Omnibook, played at about 170 bpm for now. Not without some clams, I'll admit, but I can feel it clicking into place and I hope to get it cleaner and quicker in the days to come.
I find this solo actually lays out rather nicely on the guitar. I have found very few uncomfortable stretches, unlike the head!
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Still working away on Donna Lee in the Omnibook. This is finally the head and both choruses, played at something like almost a reasonable tempo of 185 bpm. Some flubbed notes in here, of course. I never seem to be able to play it clean at any pace, so I would rather make mistakes at higher tempos!
I appreciate observations and advice, especially from any who have tried to play this.
Was Eddie Lang short?
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