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Originally Posted by vladmartino
Sent from my iPad using Tapatalk
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07-25-2018 02:44 PM
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This has a very euphoric feeling to me. I love it.
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Originally Posted by Doublea A
Ask any songwriter.
(It's worth saying that jazz musicians are heavily incentivised to record originals because the jazz musician's art - improvisation - is not recognised in copyright law. If I play a gig of originals in the UK, I get paid a bit of extra money through the PRS, for instance.)
It's also about the values of the composition. The musicians who wrote standards were by and large not jazz musicians. They were songwriters. (There are some exceptions (Duke Ellington) of course, and interesting shades of grey (Monk) and I'm not really counting the tradition of contrafact writing here.)
Improvisation can overlap with composition obviously. Sometimes the compositional voice is very different from the improvisational voice.... In most cases of modern players the compositions sound like the improv, which is to say notey and impressive. But songlike? Usually not. There are exceptions!Last edited by christianm77; 07-25-2018 at 03:45 PM.
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Not sure if this counts but I have a big soft spot for EST
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Originally Posted by christianm77
Is it ok to use 'Nerd Jazz' as a style label? Pretty much characterize all the modern thing started from Kurt Rosenwinkle till today.
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wow lol, i was afraid to use this "nerd" label , but honestly thats how i felt while listening to it, i would also use academic and chamber like. nothing wrong with that that thoug
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Originally Posted by Hep To The Jive
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Originally Posted by Hep To The Jive
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Originally Posted by Hep To The Jive
Chico is Brazilian, but studied at Berklee. He is just as good playing Out of Nowhere or a blues in F.
Brazilian jazz has followed a different path from American jazz, at least, on balance. There is plenty of cross-pollination.
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Not sure if this counts as jazz, but honestly I don't care.
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Originally Posted by rpjazzguitar
He is just as good playing Out of Nowhere or a blues in F.
(I know that's not what you meant :-))
Brazilian jazz has followed a different path from American jazz, at least, on balance. There is plenty of cross-pollination.
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Quite different vibe, but not 'academic' to my ears in any way.
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Originally Posted by christianm77
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Some of the "contemporary jazz" posted on this thread has been very interesting and beautiful. Some, like the video originally posted feels like work to listen to. I suppose it has less to do with a particular style as it does with musicality. Good is good no matter what the style. Unlistenable music is bad no matter how advanced the player's technique.
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Originally Posted by rlrhett
The problem is more that technique, once acquired is a convenient thing to rest on... Once craft is acquired you have to go beyond it...
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Originally Posted by christianm77
It's curious that Americans really don't sound Brazilian when they try to play Brazilian music. There's an accent, and the usual explanation is that we Americans didn't grow up with those rhythms.
Yet, when I've heard Brazilian bands break into swing (usually as a kind of joke), they sound authentic.
To my ear the difference between Brazilian jazz and American jazz is in the flow of the harmony. The Brazilians always seem to have smooth flow -- nothing jagged to the ear -- even while the chords are moving through outer space (compared to the chord progressions we're accustomed to in standards). That, and the music is usually rhythmic, often to the point of being danceable.Last edited by rpjazzguitar; 07-25-2018 at 05:32 PM.
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They play upbeats, which is nice.
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Here's another "modern" player that doesn't suck at music, while we're sharing clips. In fact Rotem is probably my favorite guy from the "Too-Cool"-Nerd (TCN) jazz scene. What I like about Rotem is that he doesn't try as hard to sound cool as some of these other guys (I won't name names), and he has a great sense of humor in his playing.
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One approach to comping samba on guitar is to play all upbeats.
That statement is true but insufficient.
The upbeats have to be phrased or articulated, or something, just right, or the music won't swing. When you hit it, when you release it, where it sits in the frequency spectrum -- if you don't get that all perfect, the upbeats sound bad. Don't ask me how I know this.
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Originally Posted by rpjazzguitar
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Originally Posted by christianm77
When a student talks about wanting to improve time, the usual prescription is practice with a metronome, but that's no guarantee either. I can't recall hearing very much useful about improving feel. Well, maybe the suggestion to put the 'nome on 2 & 4. Also, the suggestion to take up drums, although there are drummers who can play but don't have great feel.
What I have been doing recently is playing along with videos where the guitarist has great time feel and I can see and hear exactly what he's doing. Then, if I remind myself every time I pick up the guitar, I spend a higher percentage of the time playing on the better side of my ability. But, it's still easier in practice than in a group, where I have to account for multiple takes on the feel at once.
We don't talk that much about it, but it has always seemed to me that a great player can make a single note sound good -- with great time.
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