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Reg:
That would be great..and THANK YOU for taking the time to pass on your thoughts/knowledge to the rest of us...I dig your videos..and while I certainly cant execute most (that would be 99%) of what you do at this point, there is always that one "AHA" moment that opens up some new thoughts for me....
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03-23-2011 10:42 PM
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As my old trb prof used to say: "This swings like a tree full of monkeys!"
:-D
This is gonna be fun.
Best,
Michael
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Reg, I don't even know if you think of it as an improvising concept... But if I could learn only one thing of yours, it would be the way you swing. Without the swing/groove, it's just doesn't sound like hot jazz.
Originally Posted by Reg
However, I'm not sure that can be taught?
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Reg's swing is infectious!
Some players float the rhythm and obscure the measure line. Think Bill Frisell or Bill Evans. I like like both approaches. Some works better in a group setting, etc.
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OK... I may be slow and lazy... but I do get to it...
I'm just starting... I took 1st part of new tune for Playing Standards thread. The new tune is Ceora... So I'm taking the basic I II V I thing and using my sub methods, If you check out my Playing Jazz Standards in a Jazz Style thread... the last tune Autumn Leaves... I made two Vids 1st one is sample of tune, 2nd vid is explanation of how I use Subs for source of new harmonic material and how to use organizationally to help tunes feel right. Anyway this Vid... is lousy version of concept applied to improve... with use of rhythmic organization also... It's a start... they'll get better Reg
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Great stuff. Thanks, I enjoyed listening to it.
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COOL Reg!
great stuff, and hot playing keep em comming
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Just in case it wasn't clear... The blue notes, b3 and b7 are the #9 and b13 of the altered V7 chord... the process of using sub of sub V is method of accessing those notes with a method and organizational system besides simply using your ears... Reg
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Reg, you have some great 16th notes lines. I think I'm gonna steal some of them
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Cool clip Reg. Burnin' fast runs. Groovy as ever.
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Those runs are awesome, how does one go about making/playing/learning those??
with my "improv" now, I feel it's kinda slow and boring, not the tempo but just my phrases (which are mostly chord tones/arpeggios) It's just not very cohesive...I get what to play but not how to play it...
any tips?
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Yo ....
I was browsing through one of the threads on your forum, when I noticed that my web site jazzeveryone.com was referenced by a markerhodes post. I thought I would toss my hat into ring about teaching and playing jazz.
I am an 80 year old trumpet dude with credentials that go back to the 50-60's with several groups, including Woody Herman, the MJT+3 and the Slide Hampton Octet with Freddie Hubbard and George Coleman. After leaving NYC in 1965, I opened a music store in Orlando, FL and began working with the school band programs at the beginning of the jazz education migration into the school music programs. At this time, I began developing the Jazz Anyone classroom method for Warner Brothers and now published by Alfred Music. It was and still is used in many schools.
Over the last 40 years, I have continued to develop my "user friendly" system, that's been formatted to use online. It turns theory into music in a very simple way through the application of what I call the Pentatonic Pair System. When you start these little 2 note melodies on the 2-3 5-6 1-2 of any major scale, they form a melody chain through the II V I in any key. These same Pentatonic Pairs also symmetrically connect the 12 tonal centers around the entire Cycle of 4ths/5ths.
When these Pentatonic Pairs are embellished and connected chromatically, they form the basis for the be bop language. If they are moved up or down minor thirds, or what I call the diminished ladder, they provide accessible vocabulary for the diminished and altered sounds needed to add color to your playing!
That's a brief description of the content. This revelation about these Pentatonic Pairs came to me through my friend Wynton Kelly, who was in the Army with me in Atlanta, GA in 1954-55. Wynton helped me learn the language of jazz through listening to him play and applying these simple Pentatonic Pair melodies he used to every tune I knew and learned.
From April 1 though April 15, we are having Open House at jazzeveryone.com and I would like to invite you to register FREE and see how this material is integrated into a basic jazz curriculum, a la be bop. In closing, I am reminded of Charlie Christian, Barney Kessel, Tal Farlow, Mundel Lowe and other earler be bop guitar players who listened to Bird, Diz and Bud to get their be bop chops in order. Bird Lives!
http://www.jazzeveryone.comLast edited by Willie Thomas; 04-01-2011 at 02:23 PM. Reason: wrong link
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Here's a simi-modal tune called "The Real Guitarist", by Steve Kuhn. It's a cool tune to show idea of playing between Lydian and Dorian... same set of notes... different feel and sound... example could be Gmaj7#11 and E-9... can be thought of as IVmaj7 and II-7...
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