"Play Me Something On The Guitar" - What Do You Play?

**lawson-stone** · 12-29-2016, 10:46 PM

Originally Posted by marcwhy

Graham's "Summertime" idea above is good; I also do "ATTYA" when someone asks for something. I don't hang out with metal players, but a nice chord melody would/should make them say, "Cool!" No need to compete with them for chops.

The problem with ATTYA is that outside of jazz players, nobody has ever heard of that song any more. Sad, so sad but totally true. People can't really understand reharmonization and improvisation in the context of a tune they don't know. So my first rule on "play me something" tunes is: THEY MUST RECOGNIZE THE TUNE. Without that, they can't appreciate what you're doing with it.

**mr. beaumont** · 12-29-2016, 11:04 PM

My "leave me alone" tune is "the way you look tonight."

**Doctor Jeff** · 12-29-2016, 11:20 PM

Satin Doll, Misty, Summertime and ATTYA are always crowd pleasers.

I think you have to resist the temptation to show off too much. Most people who aren't jazz guitarists are more impressed by the tone and arrangement than by speed and complexity.

In college I remember a guy coming by the frat house with a nylon string and playing Bouree and a few fingerstyle arrangements. I was impressed as heck and decided then and there to go buy a classical guitar and start learning to play like that. The rest, as they say, is history.

**pkirk** · 12-30-2016, 12:32 AM

One answer to the question is, make a chord-melody arrangement *every time you learn a new tune*. Moreover, try to incorporate some harmonic device you are trying to import to your playing whenever you do it. This has YUGE benefits down the line. In particular, whatever tune you are learning will be cued up when you face such a situation.

If you aren't that advanced, you oughta be able to invent a decent Bb blues on the fly. If you can't do that yet, it's probably a good place to start.

Some other answers: work out jazz arrangements of beatles tunes. In my wallpaper gig book I've do "day tripper","with a little help from my friends", "baby you can drive my car", "taxman." Those are all easy to turn to jazz by spicing up the harmony and picking the right groove. A standard that the beatles did is "till there was you" (don't tell them you prefer the Sonny Rollins version)

Some others that you can do are "like a rolling stone" and "all along the watchtower" (incidentally many Hendrix tunes work well in a small jazz combo/duo setting). If you like that stuff, there's also the whole "americana" thing, which means you can take some of the cowboy tunes you first learned (streets of laredo, red river valley, etc) and revisit them with your jazz-aquired harmonic chops.

**ragman1** · 12-30-2016, 02:00 AM

Jim Mullen was interviewed, quite a long one. At the end the interviewer asked him to play them out. So he played a fingerstyle folk song his wife liked, nothing remotely jazzy about it at all :-)

**lawson-stone** · 12-30-2016, 11:33 AM

Originally Posted by henryrobinett

I play whatever the hell I want to play. I figure it does no one any favors pretending that jazz doesn't exist. I figure pandering to whatever tastes exist, expecting me to pander, or to attempt to impress are equally stupid. No one will learn anything about jazz or art music if we always play chord melody od Tears in Heaven. I'll play Stella, or The Bat, or one of my songs or Body and Soul or make some stuff up.

And this attitude goes a long way toward illuminating why the audience for jazz guitar is shrinking. The standards were the pop songs of their era, played with pleasure by jazz virtuosos. I see no harm in having a few tunes that almost anyone would recognize with pleasure and that can send the message that not all jazz has to be ugly and confusing to be real jazz.

**NSJ** · 12-30-2016, 11:51 AM

Originally Posted by lawson-stone

And this attitude goes a long way toward illuminating why the audience for jazz guitar is shrinking. The standards were the pop songs of their era, played with pleasure by jazz virtuosos. I see no harm in having a few tunes that almost anyone would recognize with pleasure and that can send the message that not all jazz has to be ugly and confusing to be real jazz.

The problem is, 99% of young people (or even Gen X and many Boomers) wouldn't recognize a tune from the Great American Songbook if it hit them on the head and knocked em out cold.

You pretty much have to be a member of the so-called "Silent Generation" (for whom jazz was the music of their time, the music they grew up with) to really know these tunes. Or a jazz musician or someone in musical theater. That's it. Everyone else? Not a clue. The Stars could fall on Alabama relentlessly, straight up 365/24/7, and no one will any worse for the wiser. As Branford Marsalis said after leaving Leno, "nobody knows who the fuck we are, man!"

What it means is that's strangely liberating: since nobody knows, nobody cares, you can go ahead and play whatever you want.

**lawson-stone** · 12-30-2016, 12:17 PM

Originally Posted by NSJ

The problem is, 99% of young people (or even Gen X and many Boomers) wouldn't recognize a tune from the Great American Songbook if it hit them on the head and knocked em out cold.

You pretty much have to be a member of the so-called "Silent Generation" (for whom jazz was the music of their time, the music they grew up with) to really know these tunes. Or a jazz musician or someone in musical theater. That's it. Everyone else? Not a clue. The Stars could fall on Alabama relentlessly, straight up 365/24/7, and no one will any worse for the wiser. As Branford Marsalis said after leaving Leno, "nobody knows who the fuck we are, man!"

What it means is that's strangely liberating: since nobody knows, nobody cares, you can go ahead and play whatever you want.

I would draw exactly the opposite conclusion. I would try to meet them where they were as much as possible, then try to move them a bit toward that rich treasure trove of music. I hate to hear jazz musicians griping about not getting good gigs, teachers griping about not getting students, and then hear them saying they don't care what anybody likes they just play what they want. There is a connection.

As a teacher by vocation I think everything turns on have the right connection with the audience. Meet them where they are, but in such a way that you can help them see why moving in your direction would be a good thing.

To do that, of course, you actually have to care about people, which might be a problem for some, I don't know.

**NSJ** · 12-30-2016, 12:26 PM

Originally Posted by lawson-stone

I would draw exactly the opposite conclusion. I would try to meet them where they were as much as possible, then try to move them a bit toward that rich treasure trove of music. I hate to hear jazz musicians griping about not getting good gigs, teachers griping about not getting students, and then hear them saying they don't care what anybody likes they just play what they want. There is a connection.

As a teacher by vocation I think everything turns on have the right connection with the audience. Meet them where they are, but in such a way that you can help them see why moving in your direction would be a good thing.

To do that, of course, you actually have to care about people, which might be a problem for some, I don't know.

That's all fine, and really well intentioned; for many of us, playing "what we want" is exactly the G.A.S. Despite the fact nobody knows or cares. I mean, Branford plays his repertoire, it doesn't stop him, notwithstanding the fact that "nobody knows who the fuck we are, man".

I wasn't making a value judgement, just trying to understand the landscape. Which is just stating the reality that 99% of the people out there. couldn't tell you the difference between Cole Porter and a coal porter.

The practical effect is, no matter what you play, it just comes off as some exotic instrumental music. And some strange newcomers may even like it, you never know.

**matt.guitarteacher** · 12-30-2016, 12:36 PM

Originally Posted by lawson-stone

I would draw exactly the opposite conclusion. I would try to meet them where they were as much as possible, then try to move them a bit toward that rich treasure trove of music. I hate to hear jazz musicians griping about not getting good gigs, teachers griping about not getting students, and then hear them saying they don't care what anybody likes they just play what they want. There is a connection.

As a teacher by vocation I think everything turns on have the right connection with the audience. Meet them where they are, but in such a way that you can help them see why moving in your direction would be a good thing.

To do that, of course, you actually have to care about people, which might be a problem for some, I don't know.

I imagine it would also be fair to say that you also have a personal connection with those tunes right? Somewhere along the way, seems like there's been an assumption that you're somehow playing down to your audience. Where I would see it as maybe you're just thinking of song choice, among tunes you basically play anyway?

If you never played "somewhere over the rainbow" for yourself, I wouldn't necessarily learn it just for the sake of the OP question, but I don't think that is where you were coming from.

I think the solo guitar answer is probably a good one . Though I don't necessarily think of the slow, boring chord melody which is sometimes implied. As others have said, you learn a lot from learning a solo version anyway. You can play most anything in a Jazz style.

Sometimes the tune itself is the only connection point to those who are unfamiliar with jazz generally. Maybe shouldn't be the ONLY consideration, but probably should be ONE.

PS: Lawson, I have particularly enjoyed your solo versions and the progress you've made in the last year or so. Congrats.

**lawson-stone** · 12-30-2016, 01:26 PM

Originally Posted by NSJ

That's all fine, and really well intentioned; for many of us, playing "what we want" is exactly the G.A.S. Despite the fact nobody knows or cares. I mean, Branford plays his repertoire, it doesn't stop him, notwithstanding the fact that "nobody knows who the fuck we are, man".

I wasn't making a value judgement, just trying to understand the landscape. Which is just stating the reality that 99% of the people out there. couldn't tell you the difference between Cole Porter and a coal porter.

The practical effect is, no matter what you play, it just comes off as some exotic instrumental music. And some strange newcomers may even like it, you never know.

I just don't accept or agree with the hopelessness in your last sentence. I'm no great player, but I've had many friends and family say "Play me something" and so I've played "When You Wish Upon a Star" or "Somewhere Over the Rainbow" and always gotten a very appreciative response. Often I have people say "Who is an artist I can check out who plays like that?" Joe Pass played "You Are the Sunshine of my Life" and, yes, even "Feelings" solo guitar, and impeccably. Or his Hank Williams album, or his Christmas album.

Joe often said that any song can be played in a jazz style.

Sure, Branford just plays what he wants, but most will not have the leisure of spurning or disdaining the hopes of their audiences. We need to be bridges that help folks to enjoy better music, but we can't do that if we ignore them as musical Philistines or, worse, take a kind of pleasure in failing utterly to connect.

**lawson-stone** · 12-30-2016, 01:28 PM

Originally Posted by matt.guitarteacher

I imagine it would also be fair to say that you also have a personal connection with those tunes right? Somewhere along the way, seems like there's been an assumption that you're somehow playing down to your audience. Where I would see it as maybe you're just thinking of song choice, among tunes you basically play anyway?

If you never played "somewhere over the rainbow" for yourself, I wouldn't necessarily learn it just for the sake of the OP question, but I don't think that is where you were coming from.

I think the solo guitar answer is probably a good one . Though I don't necessarily think of the slow, boring chord melody which is sometimes implied. As others have said, you learn a lot from learning a solo version anyway. You can play most anything in a Jazz style.

Sometimes the tune itself is the only connection point to those who are unfamiliar with jazz generally. Maybe shouldn't be the ONLY consideration, but probably should be ONE.

PS: Lawson, I have particularly enjoyed your solo versions and the progress you've made in the last year or so. Congrats.

I think it can be both. I enjoy a lot of different types of music, from Durfle to John Denver. I can play a pop tune or gospel tune or even a hymn tune that I know someone will enjoy as easily as a jazz standard.

Cicero stated once that the goal of rhetoric is the delight, instruct, and move. I think the same applies to our music, and that we need to be much more focused on the audience and less on ourselves.

**Gilpy** · 12-30-2016, 01:50 PM

Nobody has ever asked me to "play something", with the exception of my family at Christmas. So I have a bunch of chord/melody Christmas songs ready to go. But then they sing along, so I might as well just be strumming!

**destinytot** · 12-30-2016, 03:56 PM

(Sigh.)

**darkwaters** · 12-30-2016, 04:24 PM

Play what you love.

**Stevebol** · 12-30-2016, 04:45 PM

Never thought about it before. It doesn't matter what you play but as Lawson Stone suggested a Disney tune would be nice.
If you want to shred or impress there's certainly nothing wrong with that either.

**morroben** · 12-30-2016, 04:58 PM

I have good luck with Rainbow Connection. People dig Kermit.

**rabbit** · 12-30-2016, 04:58 PM

People ask you guys to play? Hmmm.

**ragman1** · 12-30-2016, 08:17 PM

So it's plainly worthwhile to have at least a couple of impressive (but not too impressive) numbers precisely for use in these situations.

There's an old musician's joke about a band leader.
Bloke comes up and says 'Do you do requests?'
'Sure', says the band leader, 'what would you like?'
'Oh, anything' he says.

Very popular in its day, that one!

**MarkRhodes** · 12-30-2016, 08:30 PM

I've used "Summertime" in such a situation before and it always seemed to work.
I've also used tunes that I was currently working on but didn't have down yet----that never seems to work!

**ragman1** · 12-30-2016, 08:33 PM

Originally Posted by MarkRhodes

I've used "Summertime" in such a situation before and it always seemed to work.
I've also used tunes that I was currently working on but didn't have down yet----that never seems to work!

Which is probably why Joe Pass used to play You Are The Sunshine Of My Life

(I think it's a truism that people automatically like tunes they recognise over and above the rendition. If they know it they'll go 'Oh, I like that!' and say you were wonderful. It's only musicians who care how it was played!)

**Larry Feldman** · 12-30-2016, 11:11 PM

I second the Disney idea. I have a version of Can You Feel The Love Tonight. I also have a version of Christina Aguilera's Beautiful. That's how I address millenials.

**MarkRhodes** · 12-31-2016, 11:21 AM

Originally Posted by ragman1

Which is probably why Joe Pass used to play You Are The Sunshine Of My Life

(I think it's a truism that people automatically like tunes they recognise over and above the rendition. If they know it they'll go 'Oh, I like that!' and say you were wonderful later. It's only musicians who care how it was played!)

There is that. Also this: if you can play a familiar tune in time, with a good feel, then you CAN play.

**goldenwave77** · 12-31-2016, 11:40 AM

Originally Posted by MarkRhodes

There is that. Also this: if you can play a familiar tune in time, with a good feel, then you CAN play.

This is why pretty much all good bands start out as cover bands: You have to establish credibility, and if you do the above, you have that.

The Beatles were a cover band...almost exclusively when they played in Germany...and they became a really, really good tight, live band. They came back to Liverpool, and they had been also rans when they left...and when they returned, they were something to be reckoned with. They also started writing their own stuff...and getting someone to record it was another struggle. "Love Me Do" charted but a lot of people thought it pretty weak. Let's face it--it's not "Stardust", Stella or ATTYA. The real surprise was the floodgate of original songs that came after that.

But generally, people don't "know what they like, they like what they know." How many times have you listened to a CD (I know I'm dating myself), and the first time through, you might say...."hmm...I'll go back and listen again"...and you do, and you find you like it, it resonates.

**Stevebol** · 12-31-2016, 12:07 PM

Originally Posted by goldenwave77

This is why pretty much all good bands start out as cover bands: You have to establish credibility, and if you do the above, you have that.

The Beatles were a cover band...almost exclusively when they played in Germany...and they became a really, really good tight, live band. They came back to Liverpool, and they had been also rans when they left...and when they returned, they were something to be reckoned with. They also started writing their own stuff...and getting someone to record it was another struggle. "Love Me Do" charted but a lot of people thought it pretty weak. Let's face it--it's not "Stardust", Stella or ATTYA. The real surprise was the floodgate of original songs that came after that.

But generally, people don't "know what they like, they like what they know." How many times have you listened to a CD (I know I'm dating myself), and the first time through, you might say...."hmm...I'll go back and listen again"...and you do, and you find you like it, it resonates.

On a gig like the Beatles had early on there's nothing to do except work long hours and get super tight. Unlike the vast majority of bands that play that type of circuit they stuck together.
They may not have been the best band in the UK after their return from Germany but I'll bet they were the tightest.