'The Jimmy Raney Book' now available at last!

[RaneyJR]

Is there a lot of phrases to copy or is it mostly concepts to apply to our playing?

There's quite a lot of transcribed phrases to review in the opening chapters for sure, but there is a thematic grouping and underlying concepts. I think it's similar to - let's say - Mark Levine's Jazz theory Book. Which really tries to assess a concept and provide examples across different artists. You can choose to copy exact phrases, but my hope is you look at them conceptually and break them apart. Take a piece of them and change them.

The latter chapters have some sample exercises that takes the section's concepts separately and starts you off with an idea an ask you to continue. Like (perhaps) some of the Classical composition books from yesteryear that have people write things out based on a given theme. Plus there is compositional techniques in Chap 9 that don't talk so much about the notes but rather the organizing or thematic principle.

Assuming you saw the 2nd demo video? I take his Chapter 2 and 6 lines and play them verbatim. But then add my own extensions to them. That is what I was encouraging there, a sort of dynamic/active approach to all the material in the book. In other words drawing things from all the chapters and inserting yourself in them. Chap 10 is almost a thesis - in a sense where I task myself to apply some of the concepts and create my own "Jimmy Raney" style solo on tunes he never played.

Does this answer the question? Let me know

[joe2758]

Yes, thank you!!!

[Dave70]

Lol just saw this topic, order placed!

[MrCoconut]

It just arrived. Woot!

[David B]

Jon Raney has just posted another illuminative video, looking at the sequence and development material in the book.

[MrCoconut]

I was just going to post that video. I'm so glad he did this section. So very well done.
What a big help this was. I liked that he stressed that these exercises are a starting point
for writing your own lines.
Thanks Jon!
Keep 'em coming!

[RaneyJR]

I was just going to post that video. I'm so glad he did this section. So very well done.
What a big help this was. I liked that he stressed that these exercises are a starting point
for writing your own lines.
Thanks Jon!
Keep 'em coming!

You welcome, MrCoconut (Feel funny calling you that lol) I guess I need a meme too

[MrCoconut]

Hi Jon,
Yeah, I thought MrCoconut was a clever name but I'm rethinking that now. Haha.
Thanks again for the great new video.
All the best,
Joe

[RaneyJR]

Hi Jon,
Yeah, I thought MrCoconut was a clever name but I'm rethinking that now. Haha.
Thanks again for the great new video.
All the best,
Joe

Well you don't have to baby me. I didn't just fall out of the tree ya know ..



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[MrCoconut]

Well, I'm trying to be less of a wise asse.
My initial reply was going to be.
"Call me Harry."

[MrCoconut]

So after going through Jon's 2 videos 8 or 10 times,(I have a very thick head)
I started thinking, wait a minute, I think I do this sometimes though I was
unaware. I'm referring to the rhythmic devices.
So I got out my Play Along with Jimmy Raney book and there it was in the forward.
I probably read about it and then promptly forgot it.
So thanks Jon for bringing more clarity to this subject. It's hugely important imo.

[RaneyJR]

So after going through Jon's 2 videos 8 or 10 times,(I have a very thick head)
I started thinking, wait a minute, I think I do this sometimes though I was
unaware. I'm referring to the rhythmic devices.
So I got out my Play Along with Jimmy Raney book and there it was in the forward.
I probably read about it and then promptly forgot it.
So thanks Jon for bringing more clarity to this subject. It's hugely important imo.

Sorry I missed this Joe. I appreciate that. Working on a new one and accompanying blog. Hopefully it will be even better.

Best

Jon

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[pamosmusic]

Just got the book in the mail from Sher. Ordered it at the worst possible time ... right before Christmas, then there was snow, then a huge water outage in Richmond right as the package was passing through ... so it took a minute to get here.

Not finished reading through yet, but it's very cool (of course).

[Mick-7]

So after going through Jon's 2 videos 8 or 10 times, (I have a very thick head) I started thinking...

Perhaps removing the husk from your coconut head would help?

I bought the pdf of this book at the end of last December (when it was on sale for half price), and haven't even looked at it yet. I will try not to completely ignore it as I've done with just about all the other guitar books I've bought in the past.

[pamosmusic]

Perhaps removing the husk from your coconut head would help?

I bought the pdf of this book at the end of last December (when it was on sale for half price), and haven't even looked at it yet. I will try not to completely ignore it as I've done with just about all the other guitar books I've bought in the past.

Ive only ready through the first quarter of it or so, but it did prompt me to listen to Jimmys Pennies From Heaven album three times straight through this morning, so it’s a success even if I stop right now.

[MrCoconut]

Only repetition can penetrate the thick outer layer. I was just going through all my guitar books that I ignore. It's good to occasionally rearrange them. I will say this; this book has caused me take up the piano. After all this is the year of the dragon (at least for another month). It brings great possibilities but also great dangers.

[pamosmusic]

Ive only ready through the first quarter of it or so, but it did prompt me to listen to Jimmys Pennies From Heaven album three times straight through this morning, so it’s a success even if I stop right now.

Man most of the first half of the book is on polyrhythm and using melodic patterns to imply different cross rhythms.

Really interesting.

Jimmy’s harmonic concept and how beautiful and bright and out his lines can be, always reminded quite a lot of Lee Konitz. But tons of time spent on Jimmy’s preoccupation with Bird and Bird’s rhythmic concept. Which makes so much sense and is so easy to hear now that it’s been put in front of my face. But kind of an interesting surprise.

[pamosmusic]

Ahh we just made it to the Tristano School cameo. Super cool.

[sgcim]

Ahh we just made it to the Tristano School cameo. Super cool.

He didn't like those guys, and used to get annoyed when he was compared to them.
I bought the book just to support Jon and the memory of his genius dad. I haven't looked at it yet.

[RaneyJR]

He didn't like those guys, and used to get annoyed when he was compared to them.
I bought the book just to support Jon and the memory of his genius dad. I haven't looked at it yet.

Hi Steve,

This is my take on it. Lee and Dad were close friends. He liked his playing. In fact his composition, “Lee”, is essentially a dual dedication to my mother and him. But playing with him was a bit problematic because Lee could make oddball decisions on stage that at times could be embarrassing for him. Jim Hall mentioned it as well. But he still liked his playing but not Lennie’s. He described it as cold. I interpret that as clinical perhaps. He described that in distinction to Bud Powell who he felt was the opposite. That said you could say to a degree they were both occupying a similar wing that was trying to say post bop things. Listeners may try to group him with Getz, Brookmeyer Baker, Mulligan others may try to group with Lee and Tristano. In the end Raney is Raney and he was aware of his colleagues work and liked some things and not others. And occasionally changed his mind.


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[sgcim]

Hi Steve,

This is my take on it. Lee and Dad were close friends. He liked his playing. In fact his composition, “Lee”, is essentially a dual dedication to my mother and him. But playing with him was a bit problematic because Lee could make oddball decisions on stage that at times could be embarrassing for him. Jim Hall mentioned it as well. But he still liked his playing but not Lennie’s. He described it as cold. I interpret that as clinical perhaps. He described that in distinction to Bud Powell who he felt was the opposite. That said you could say to a degree they were both occupying a similar wing that was trying to say post bop things. Listeners may try to group him with Getz, Brookmeyer Baker, Mulligan others may try to group with Lee and Tristano. In the end Raney is Raney and he was aware of his colleagues work and liked some things and not others. And occasionally change his mind.


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Hey Jon, good to hear from you!
A friend of mine told me that Lee told him that going on the road with Kenton messed up his head, and he never felt the same after that.
I remember seeing Lee when I was still in HS at a concert honoring Bird, and he came out with a cassette player and told the audience that people used to say that he was great innovator, because he didn't copy Bird.
He said that was a lot of BS, because the reason he didn't copy Bird was due to the fact that he couldn't play as well as Bird.
Then he plugged in the cheap, little cassette recorder and played the first album of Supersax. He picked up his alto and tried to play along with the recording, and kept screwing it up. Then he said, "There, I can't play that stuff! That's the reason I never tried to play like Bird, I just wasn't good enough!"
The girl I was with asked me if he was drunk or something, and I said I didn't know. I guess that's an example of oddball decisions that could embarrass people on stage with him that your father and Jim Hall talked about.

[wintermoon]

Hey Jon, good to hear from you!
A friend of mine told me that Lee told him that going on the road with Kenton messed up his head, and he never felt the same after that.
I remember seeing Lee when I was still in HS at a concert honoring Bird, and he came out with a cassette player and told the audience that people used to say that he was great innovator, because he didn't copy Bird.
He said that was a lot of BS, because the reason he didn't copy Bird was due to the fact that he couldn't play as well as Bird.
Then he plugged in the cheap, little cassette recorder and played the first album of Supersax. He picked up his alto and tried to play along with the recording, and kept screwing it up. Then he said, "There, I can't play that stuff! That's the reason I never tried to play like Bird, I just wasn't good enough!"
The girl I was with asked me if he was drunk or something, and I said I didn't know. I guess that's an example of oddball decisions that could embarrass people on stage with him that your father and Jim Hall talked about.

I caught Lee @ the blue Note in NY in a drummer less trio w/Paul Bley and Steve Swallow and he was great, totally normal that night.
they were on a double bill w/ Kenny Burrell's trio.

[enalnitram]

Hi Steve,

This is my take on it. Lee and Dad were close friends. He liked his playing. In fact his composition, “Lee”, is essentially a dual dedication to my mother and him. But playing with him was a bit problematic because Lee could make oddball decisions on stage that at times could be embarrassing for him. Jim Hall mentioned it as well. But he still liked his playing but not Lennie’s. He described it as cold. I interpret that as clinical perhaps. He described that in distinction to Bud Powell who he felt was the opposite. That said you could say to a degree they were both occupying a similar wing that was trying to say post bop things. Listeners may try to group him with Getz, Brookmeyer Baker, Mulligan others may try to group with Lee and Tristano. In the end Raney is Raney and he was aware of his colleagues work and liked some things and not others. And occasionally change his mind.


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Thanks for sharing this Jon, this is gold! There is a piece that Jimmy wrote about Lee (renaming him “Ree”) as part of a series for Louisville music paper. I would repost it here but that would be getting away from your book, and I would not want to offend anyone. If it’s ok with you maybe I could post those pieces in a new thread?

[sgcim]

I caught Lee @ the blue Note in NY in a drummer less trio w/Paul Bley and Steve Swallow and he was great, totally normal that night.
they were on a double bill w/ Kenny Burrell's trio.

Paul Bley started out as an "inside player", but then went outside. . Which one was he when you saw him with Konitz?

[sgcim]

So after going through Jon's 2 videos 8 or 10 times,(I have a very thick head)
I started thinking, wait a minute, I think I do this sometimes though I was
unaware. I'm referring to the rhythmic devices.
So I got out my Play Along with Jimmy Raney book and there it was in the forward.
I probably read about it and then promptly forgot it.
So thanks Jon for bringing more clarity to this subject. It's hugely important imo.

That forward was the most important influence on my "modern jazz" playing.