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I've been told I need to be more thematic with my jazz improv. I've been told this before and I've definitely worked on it.
The first thing I will say is that some well known players play choruses where they are all over the map with their ideas, but I digress. I do want to do this and I think this will help me in a number of ways.
So, I'm looking for players, any instrument, but preferably guitar that are very, very thematic with their playing over Real Book One type standards.
Blatant and obvious is fine and good.
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10-01-2024 10:24 AM
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Sonny Rollins
Sonny Rollins
Sonny Rollins
Sonny Rollins
Sonny Rollins
Sonny Rollins.
Hope that helps.
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I think you're going to find that such a list is synonymous or quite similar to the biggest names, because motivic development is going to be more accessible to listeners and drive appeal. Coherence = depth.
Sonny Rollins
Miles Davis
Wayne Shorter
Lester Young
Thelonious Monk
Bill Evans
What's most important is that you are drawn to the work that most speaks to you, you figure out what it is you love about it, and train yourself to do that, in your own way.
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Pat Metheny
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Jim Hall was definitely the first name that came to mind.
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Here's one from me...
Keep em coming.
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Why limit yourself to guitar players? The best players in this dept. are not guitar players (although Wes had a thing...).
Did somebody say Sonny Rollins?
Study him for a few years, you're bound to learn a thing or two about theme and variations...
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A famous analysis of Sonny Rollins’ thematic methods:
https://www.jazzstudiesonline.org/fi...aticImprov.pdf
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Originally Posted by grahambop
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I read about that article years ago but never saw it until I googled it yesterday.
Apparently Sonny Rollins was so psychologically affected by this dissection of his own methods (which he was not conscious of) that it put him off playing for a while!
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Originally Posted by grahambop
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Originally Posted by princeplanet
Fortunately he soon got over it and just got on with playing as normal!
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Listen to Sonny Rollins’ album ‘The Bridge’ and then you get Sonny and Jim Hall together!
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I was listening to Brad Mehldau on Pete Bernstein’s latest and it struck me how motivic he is.
Sent from my iPhone using Tapatalk
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Originally Posted by Christian Miller
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Originally Posted by PMB
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I always turn to Keith Jarrett. His playing draws from themes derived from the original melody, previous lyrical phrases and they always have an original and strong theme developed in a manner that is the highest level of craft.
Also listen to Lester Young, and you'll hear how his treatment of the motific idea informs a very singable line and points to the improvisational and compositional sense of those who followed, like Sonny Rollins, Paul Desmond, Lee Konitz.
Dexter Gordon also has an uncanny way of taking an idea that is so simple, yet strong that many players would note even know how to develop it. Yet he can spin an entire solo from it.
Monk takes rhythmic motif to another level. Study Monk and your ear will grow. Understand what he's doing and you're soloing will become compositional. This is very strongly evidenced in Coltrane before and after he worked with Monk.
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I'd say Art Tatum had some pretty thematic playing when he improvised on standards. He seems to have no end to his ability to vary up a melody line with interesting melodic and rhythmic additions and alterations. Maybe I'm off base.
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Originally Posted by DawgBone
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Originally Posted by Jimmy blue note
Yes, no wonder I love listening to all the players you mention here... hmm... too bad I don't sound like any of them...
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Originally Posted by princeplanet
The moment I stopped thinking scales, arpeggios and patterns and started thinking Choices and Intention, I listened differently, heard more and played more creatively and cohesively. And I began to not only love the music but to own my own abilities.
It took all of those cats a LONG time to become the people we look to. Love it and immerse yourself in the process.
It will reward you for doing.
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Originally Posted by grahambop
Some things come from a place of understanding that is beyond the realm of "understanding".
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Originally Posted by Jimmy blue note
Except she is described as Trane's friend. Is this who you're talking about, I wonder?
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Originally Posted by James W
Yeah I met Lewis Porter and he had SO many anecdotes and stories, and truly one of the most informed scholars yet possessed of a gift for narrative story telling.
Great story and a good inspiration to develop one's ear!
Blue Bossa-practising in slow temo
Today, 05:40 AM in Improvisation