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Originally Posted by Litterick
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05-23-2020 05:26 PM
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Originally Posted by cosmic gumbo
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Originally Posted by grahambop
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Parts two and three of the [COLOR=var(--ytd-video-primary-info-renderer-title-color, var(--yt-spec-text-primary))]Bill Frisell, Bob Bain and Dennis Budimir conversation:[/COLOR]
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Part of me wishes that I'd never started this thread, but you guys told me to not give up on standards with functional harmony. And it teached me to differentiate as I liked the versions of My Funny Valentine that ragman posted a lot.
I never said I ignore this kind of music btw. I just said for me it always feels more like 'doing homework' than playing modal and rootsy stuff. I know that doing homework is required, though.
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No it is not ok... it i like participating in a Mass doubting Immaculate Conceptiion.
You should take at least 40 day of isolation from forum, feel it through, think it over and take your decision. If you understand that there is nothing - I repeat - nothing as much jazz-realated as 'a kitten on a tree' there the doors of the foum might be open to you
At least that was a word of one of the oldest forum's gurus when I first doubted about Misty and went to the jazz church for cofession... and he added sing Polka, Dots and Moonbeams 30 times every morning and you begin to appreciate Misty
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Originally Posted by guavajelly
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I may be wrong, but I think it is only guitarists who care about standards. Or maybe it is only northern hemisphere guitarists: I cannot remember when I last heard a standard played live.
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Originally Posted by Litterick
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Originally Posted by Litterick
These observations are mainly based on my attendance at the Watermill jazz club in Surrey, which regularly features American, European and UK musicians.
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Interesting. I often heard Aussies say their jazz scene is quite different because of their distance from the US and European scenes, maybe more so for NZ.
The kiwi players I have met seem much like others though tbh, in that they know and play standards.
Standards are a necessity of being a working jazz musician really.
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Originally Posted by Litterick
No standards played live by guitarist from Southern Hemisphere or by non-guitarist worldwide .
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Originally Posted by Litterick
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Originally Posted by Tal_175
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The Black Sedans roll in the middle of the night.
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Is everyone here familiar with the GuitarWank podcast? It's interesting to hear the contrasting experiences and opinions of hosts Bruce Forman and Scott Henderson. Bruce knows a ton of standards, Scott doesn't, but has other production/recording skills, and their career options reflect that.
PK
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guavajelly -
Sorry, I missed your reply before.
I think I'm just tired of chains of II V I and I VI II V progressions
our corona infection
...Kind Of Blue and she asked me to turn it up. I don't know if that is about modal or functional
One could say that in general modal jazz provides more space for an improviser, the music can breathe more as the improviser doesn't have to concentrate on modulating keys as much. Now a musician is free to do the same with a functional harmonic piece of music – ist just seems like most don't do that.
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Just a thought from the above ...
Good changes players don’t follow every chord. The secret is to block down tunes to simpler functions and redecorate. That’s what Charlie Parker is doing.
So; the modal thing is less different from changes playing than I think people suppose. you can get a sense of this listen to Cannonball on Kind of Blue where he is superimposing changes in his bop lines on the mode. This is not very different to what he might do on a rhythm changes.
OTOH you could take a more modal approach and apply it to a standard. You hear modern players doing this all the time.
No one should be playing 1 6 2 5. It sounds terrible anyway, and doesn’t give enough space.
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Joe Pass' cliche was there's only dominant and major or minor. And he rarely, if ever, played a straight dominant (his words).
So a 1625 in C would be just C or Cm - G7alt.
(Presumably dims are dominants and augs depend on the type of chord which is augmented).
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Originally Posted by ragman1
DB
Last edited by DB's Jazz Guitar Blog; 05-29-2020 at 07:27 AM.
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Let the dominant dominate
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Originally Posted by guavajelly
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I got into jazz via avant garde music. So the wrong way round, if anything. Started off listening to Anthony Braxton, Art Ensemble of Chicago and free improvisation and then started appreciating Monk, Mingus, Dolphy and from them back to Duke Ellington and from him finally to the crooners. I find listening to standards/songbook arrangements by people like Nelson Riddle on Sinatra's 'In the Wee Small Hours' album, for instance, really quite inspiring in terms of ideas. Same goes for many of the arrangements that accompany Mildred Bailey, Billie Holliday, Fred Astaire and others.
And the lyrics to standards need not be cheesy. 'You Don't know What love is', 'I Can't Face the Music Without Singing the Blues', 'I'm a fool to want you', 'every time we say goodbye'... the lyrics are pretty good by most songwriters' standards. 'Summertime' too, although it's so common that no-one really pays any attention to the words anymore...
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Originally Posted by DB's Jazz Guitar Blog
Here's Big Bill doing it at the end of the verse.
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Originally Posted by christianm77
The tyranny of distance is not an issue. We are not colonials.
Jazz in New Zealand is progressive. In large part that is due to the influence of the music schools, through which most jazz musicians attend and where many teach. We have a record label, Rattle, which releases new music in jazz and other fields. Many of the artists receive state funding from Creative New Zealand. The emphasis is very much on composition and innovation. Standards are are still played by combos at weddings and wine festivals, but an audience at a jazz club would expect new music. This is a nation of noodlers.
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