Just the melody.

[alpop]

Inspired by the post of wzpgsr I have mic'd my Aviator Cub with my Behringer B 906 the knockoff of the Sennheiser that he uses.

I did a BIAB backing track and put it in Reaper. Recorded the mic signal and added no processing at all.

[lawson-stone]

Inspired by the post of wzpgsr I have mic'd my Aviator Cub with my Behringer B 906 the knockoff of the Sennheiser that he uses.

I did a BIAB backing track and put it in Reaper. Recorded the mic signal and added no processing at all.

I really like the sound you get from that guitar. I also felt like you really owned the tune. Enjoyed it! This thread is making me want to hear a lot of these folks improvising and doing more! Maybe that'll be the next thread of the month.

[alpop]

I really like the sound you get from that guitar. I also felt like you really owned the tune. Enjoyed it! This thread is making me want to hear a lot of these folks improvising and doing more! Maybe that'll be the next thread of the month.

Thanks for the kind comments. That is the first 17" wide, long scale guitar that I have ever owned/played and I am hooked on the sound now.

I am up for an improvising thread although it is my weakness.

[Mick-7]

Learning some Bill Evans tunes, here is the first one -- Peri's Scope, take 1 - Box.com


This is my favorite version on YouTube:

[John A.]

Inspired by the post of wzpgsr I have mic'd my Aviator Cub with my Behringer B 906 the knockoff of the Sennheiser that he uses.

I did a BIAB backing track and put it in Reaper. Recorded the mic signal and added no processing at all.

Very nicely done (and an excellent tone).

[kris]

Ch.Parker's blues melodies with drums only.
Blues for Alice & Blilies Bounce


Box

[ragman1]

This is always a good tune. I used to sing this in C. C is also good for improv because you have a much broader range. The trouble with F is it's very trebly and it can get irritating.

Jeff said we could do embellishments. This is an easy song to embellish because it's largely pentatonic which means blues. Once I'd got the actual melody done then embellishing it came pretty easily. So I got up this morning and couldn't help messing with it a little, although not deliberately; it just happened that way. But I didn't want to keep doing it over and over so this is the first go. In any case, one always thinks it could have been done better.

I've very deliberately avoided watching Herb Ellis' version because I didn't want to be influenced. Having seen it now I see what else I could have done. But he was using runs that I'd have used on an improv, and I wasn't doing improv here.

So it's all a bit trebly but there we are. Sorry for the long explanation.

[lawson-stone]

This is always a good tune. I used to sing this in C. C is also good for improv because you have a much broader range. The trouble with F is it's very trebly and it can get irritating.

Jeff said we could do embellishments. This is an easy song to embellish because it's largely pentatonic which means blues. Once I'd got the actual melody done then embellishing it came pretty easily. So I got up this morning and couldn't help messing with it a little, although not deliberately; it just happened that way. But I didn't want to keep doing it over and over so this is the first go. In any case, one always thinks it could have been done better.

I've very deliberately avoided watching Herb Ellis' version because I didn't want to be influenced. Having seen it now I see what else I could have done. But he was using runs that I'd have used on an improv, and I wasn't doing improv here.

So it's all a bit trebly but there we are. Sorry for the long explanation.

I really enjoyed this. You made the most of the very sweet tone you get from that guitar and I didn't think it was "trebly" at all. I also thought your second chorus was quite tasty.

BTW what is that acoustic you're playing? I thought it was a Martin D28 but the 12th fret inlay threw me.

[Mick-7]

Ch. Parker's blues melodies with drums only. Blues for Alice & Billies Bounce

Box

Ah, I didn't realize that Alice and Billie are related! Now I'm wondering if Bird's other femme fatales would be good musical partners: Kim, Cheryl.... Donna Lee is a loner.

[kris]

By "this" you meant what? A backing track?



I got the message, the purpose of this exercise is more flexible than I thought.



Funny, I was just looking at that mic -- Sennheiser Professional e609 Microphone - Amazon.com

You should be able to find a used one for a lot less $$ on eBay, etc. Oh, I got the number backwards, the 906 is about twice the price of the 609!

...By "this" you meant what? A backing track?...

It can be both with or without backing track.
In the past, there were not so many backing tracks and somehow people practised melodies of jazz standards.
Certainly backing tracks make it easier to play melody and on the other hand they control time.
Playing some melodies without backing tracks can be a challenge.

[kris]

Ah, I didn't realize that Alice and Billie are related! Now I'm wondering if Bird's other femme fatales would be good musical partners: Kim, Cheryl.... Donna Lee is a loner.

These tunes are connected by 12 bars blues form ....but chord changes are different.
These tunes can be difficult at a fast tempo.
I will try to record tomorrow Donna Lee with drums..

[Mick-7]

In the past, there were not so many backing tracks and somehow people practiced melodies of jazz standards.

Yes, we had these gadgets called "metronomes," some of us luddites still use them.

These tunes are connected by 12 bars blues form .... but chord changes are different.

I have this problem, people tend to take my jokes seriously and take my serious statements as jokes - must be my delivery.

[AllanAllen]

This is always a good tune. I used to sing this in C. C is also good for improv because you have a much broader range. The trouble with F is it's very trebly and it can get irritating.

Jeff said we could do embellishments. This is an easy song to embellish because it's largely pentatonic which means blues. Once I'd got the actual melody done then embellishing it came pretty easily. So I got up this morning and couldn't help messing with it a little, although not deliberately; it just happened that way. But I didn't want to keep doing it over and over so this is the first go. In any case, one always thinks it could have been done better.

I've very deliberately avoided watching Herb Ellis' version because I didn't want to be influenced. Having seen it now I see what else I could have done. But he was using runs that I'd have used on an improv, and I wasn't doing improv here.

So it's all a bit trebly but there we are. Sorry for the long explanation.

Another universal tune I need to learn.

[ragman1]

I really enjoyed this. You made the most of the very sweet tone you get from that guitar and I didn't think it was "trebly" at all. I also thought your second chorus was quite tasty.

BTW what is that acoustic you're playing? I thought it was a Martin D28 but the 12th fret inlay threw me.

Thanks for your comments.

The guitar is a Sigma, which were originally made by Martin although since 1970 the firm has passed through several hands. It's rather mysterious because the model number (DM64Y) doesn't match with any on the current website, including discontinued lines. None of them end in Y.

Find Your Sigma - Sigma Guitars - Legendary Acoustic Guitars

The serial number too is odd because the first two digits are supposed to represent the year. Mine are 89 but Martin stopped making them in 1970. However, this guitar still has the old Martin-style curly logo on it, not the one on them today which is either a sideways M or Z. It also has Sigma Guitars/C.F Martin imprinted inside the body next to the model number.

To be honest, all this doesn't really matter to me because the guitar is what it is. I think it's a special guitar. I've had it for many years and it's served me faithfully. Its action is spectacularly low without buzz and I simply feel at home with it, which is rare.

[ragman1]

Another universal tune I need to learn.

See, this is an old theory of mine, that people don't really care about the performance (as long as it's not really awful), they just respond to tunes they know and love.

I don't think Georgia was any better or worse than any of the others I've done, it's just that people like it a lot. Me too, as it happens :-)

[AllanAllen]

See, this is an old theory of mine, that people don't really care about the performance (as long as it's not really awful), they just respond to tunes they know and love.

I don't think Georgia was any better or worse than any of the others I've done, it's just that people like it a lot. Me too, as it happens :-)

Exactly why it should be in my repertoire. It’ll make A Smooth One go down easier if it’s bookended with Fly me to the Moon and Georgia in My Mind.

[John A.]

Thanks for your comments.

The guitar is a Sigma, which were originally made by Martin although since 1970 the firm has passed through several hands. It's rather mysterious because the model number (DM64Y) doesn't match with any on the current website, including discontinued lines. None of them end in Y.

Find Your Sigma - Sigma Guitars - Legendary Acoustic Guitars

The serial number too is odd because the first two digits are supposed to represent the year. Mine are 89 but Martin stopped making them in 1970. However, this guitar still has the old Martin-style curly logo on it, not the one on them today which is either a sideways M or Z. It also has Sigma Guitars/C.F Martin imprinted inside the body next to the model number.

To be honest, all this doesn't really matter to me because the guitar is what it is. I think it's a special guitar. I've had it for many years and it's served me faithfully. Its action is spectacularly low without buzz and I simply feel at home with it, which is rare.

There was a roughly 5-year stretch in the late-70s/early-80s when Sigmas were really good. A friend of mine had a D-41 copy, and it was a spectacular guitar (alas, stolen). After that they started making them in Korea, and they weren’t the same. But those MIJ ones are special. Yours sounds quite nice.

[ragman1]

It is nice, it's always had a special quality to it.

[kris]

I don't have an acoustic guitar.
Why?
Simply, this kind of guitars are not suitable for playing jazz on the stage.
It is true that there are a lot of musicians playing jazz on acoustic guitars, but they play mainly on Selmer Maccaferri guitars.

[Ukena]

I don't have an acoustic guitar.
Why?
Simply, this kind of guitars are not suitable for playing jazz on the stage.
It is true that there are a lot of musicians playing jazz on acoustic guitars, but they play mainly on Selmer Maccaferri guitars.

I suspect you are conflating "acoustic guitars" with "flat-top guitars."

There is quite a number of guitarists who used (and some who still use) acoustic archtops to play jazz on the stage. They're easy to find.

[kris]

I suspect you are conflating "acoustic guitars" with "flat-top guitars."

There is quite a number of guitarists who used (and some who still use) acoustic archtops to play jazz on the stage. They're easy to find.

I talked about flat-top guitars.
And these are my experiences with these guitars.
These are difficult instruments to use them on stage
I play a lot on classic guitars myself-this is similar experience.
As you already play, for example, with a large band or a very loud drummer, it is a hardware.
Therefore, there are a lot of pseudo acoustic instruments with a solid body and pickups.
I don't like guitar feedback.

[kris]

Scrapple from the apple & Honeysuckle Rose:




Box

[mr. beaumont]

I love flat top guitars, but not for gigging. Amplifying them is either complicated or a compromise. I'll just enjoy mine at home

[Bobby Hutcherson]

I'll just enjoy mine at home.

Sounds like a good plan. :P

[AllanAllen]

Sounds like a good plan. :P

Why did the You'll Hear It podcast stop? Have they mentioned it over on Open Studio Pro?