The Jazz Guitar Chord Dictionary
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  1. #101

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    Whoa, also just found this. Joe on his favorite ES175 with a great ensemble (Pisano et. al.) really enjoying Nica's Dream.



    And here's the acoustic track:


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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    I'll have to check it out. I really don't listen to much Joe, especially his later albums. The idea of all acoustic guitar sounds cool.

  4. #103

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    Quote Originally Posted by mr. beaumont
    I'll have to check it out. I really don't listen to much Joe, especially his later albums. The idea of all acoustic guitar sounds cool.
    Jeff-You are very good lider of the virtual jam.
    this is my $2

  5. #104

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    Quote Originally Posted by mr. beaumont
    My thought to post these jams before the weekend is working out I wanted to give people a reason to participate early--and keep it fresh.

    I'm ready for Nica, but I'll hold off til Thursday. I can tell you that in my opinion, Nica is TOUGH. Gonna be a while before I feel like hitting that red button and capturing my playing
    I'm grateful that we have a little extra time to get familiar with the tune. I found different versions regarding the changes - is there some kind of "official" version?

  6. #105

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    I believe this was the first recording?

    JGBE Virtual Jam (Round 6) - Night Dreamer-81hyggfwdxl-_sl1500_-jpg
    But the version on Horace-scope would be equally definitive.

  7. #106

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    That's a start. That's just horns. For guitar, I like Kenny Burrell and Wes Montgomery.
    Last edited by PickingMyEars; 02-22-2021 at 02:57 PM.

  8. #107

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    Quite good.


  9. #108

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    Some versions do latin all the way through. Some do swing in the middle. Which do you fancy, Mr. Jeff?

  10. #109

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    Quote Originally Posted by ragman1
    Some versions do latin all the way through. Some do swing in the middle. Which do you fancy, Mr. Jeff?
    Oh I think either is fine. I do love the old "Latin A, swing B" formula, so that's the route I'll take I think.

  11. #110

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    Okee dokee

  12. #111

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    Love me some Donald Byrd and Hank Mobley!!!

  13. #112

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    While I love Wes Montgomery's version, anything with Brother Jack McDuff is gonna be funky:



    I am getting more and more into Kenny Burrell. I wrote him off before, but this guy was on just about everyone's album when they wanted a guitar. Him and Grant Green.

    Harold Vick on the sax from what I've found. Vick... man, totally underrated saxophonist. His stuff on Blue Note was limited but gold.

  14. #113

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    Quote Originally Posted by PickingMyEars
    While I love Wes Montgomery's version, anything with Brother Jack McDuff is gonna be funky:



    I am getting more and more into Kenny Burrell. I wrote him off before, but this guy was on just about everyone's album when they wanted a guitar. Him and Grant Green.

    Harold Vick on the sax from what I've found. Vick... man, totally underrated saxophonist. His stuff on Blue Note was limited but gold.
    I really liked hearing the guitar behind the organ solo.

  15. #114

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    Quote Originally Posted by christianm77
    the mistake was to assume 'ear training' only relates to the audiation of pitch.

    EDIT: actually, no the problem, is more this. There's a divide.

    Audiation = the aural imagination in action. Hearing the music
    Ear training = the categorisation of sounds (most often pitches) by ear

    The first thing is actually WAY more important. Ear training - the ability to dictate notes to paper, is a reductionist activity ('I hear C#!', 'I hear eighth, quarter, eighth', 'I hear a sax section in four way close') which is a useful skill for a professional musician, but you have to hear it first.

    Audiation on the other hand is a holistic thing. You imagine the phrase with all its nuance. Rhythm is part of that. It is the specific trait that makes someone a musician.

    Gross rhythm can be what you might call 'syntactic' - for example, I can write down a Parker solo as a bunch of eight notes and so on, but what is going on with feel, accentuation, beat placement etc is a lot deeper.

    Which of course is the real value of learning solos, not simply writing them down as an assignment for class... And why I would always prioritise deep listening over ear training. Tristano understood this implicitly, for example.

    The side of it that people think is important - the playing of notes on the instrument, writing them down etc - is easily achievable if you have clear enough audiation, and enough time to practice. It's an easily quantifiable practice activity.

    Also, I hate the way many ear training approaches (not Banacos necessarily) focus on individual pitches, not phrases and other gestalts.

    And in jazz, I would say rhythmic audition is first in the order of importance. Usually pitches are pretty easy to work out once the rhythm is understood, as many jazz devices (bop scales, enclosure lines etc etc) are pitched manifestations of rhythmic devices.
    I guess the question then is how do you become a better audiator? I think people get all caught up in the Barry Harris system, but maybe the system is really more about audiation in the context of Bebop. He gives you some stuff to work with and then at the workshops you have to hear and repeat the phrases he generates in real time.

  16. #115

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    We are fortunate to be able to see Wes in action on Nica’s Dream:


  17. #116

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    Just in case anyone doesn’t know who ‘Nica’ was (she was a Brit for starters):

    Pannonica de Koenigswarter - Wikipedia

  18. #117

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    Quote Originally Posted by grahambop
    Just in case anyone doesn’t know who ‘Nica’ was (she was a Brit for starters):

    Pannonica de Koenigswarter - Wikipedia
    Bloody hell.

    You're very quiet musically, Graham

  19. #118

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    how many tunes were written about her?

    Pannonica -- Monk

    Nica's Tempo -- Gigi Gryce

    Nica's Dream -- Horace Silver

    Graham, I hope you are well. Would love to hear you post some of your musical goodness to Mr. B's little jam session we got here.

  20. #119

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    Thanks, I’m ok, just been a bit busy with various things recently. I might have a go at Nica’s Dream though, it’s a great tune.

  21. #120

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    Quote Originally Posted by PickingMyEars
    While I love Wes Montgomery's version, anything with Brother Jack McDuff is gonna be funky:



    I am getting more and more into Kenny Burrell. I wrote him off before, but this guy was on just about everyone's album when they wanted a guitar. Him and Grant Green.

    Harold Vick on the sax from what I've found. Vick... man, totally underrated saxophonist. His stuff on Blue Note was limited but gold.
    wow, nice! This and Wes' one are my favs. I def dig more uptempo, energetic takes on this tune, it just comes to life better.

    Brother Jack McDuff is amazing in general, what would you call his style, like Soul Jazz or something? He's not quite a hard bop player, or is he?

  22. #121

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    Nica's Dream it is not new for JGFS.It was presented 10 years ago.
    Nica's Dream for Jazz Guitar Forum Standards Forum thread by REG.


  23. #122

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    I already know Nica's Dream, so from a selfish perspective wouldn't mind learning something new.

  24. #123

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  25. #124

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    Quote Originally Posted by christianm77
    I already know Nica's Dream, so from a selfish perspective wouldn't mind learning something new.
    +1 Christianm77

  26. #125

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    Quote Originally Posted by kris
    Reg you are GREAT player!!!!!!!!!