The Jazz Guitar Chord Dictionary
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  1. #126

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    Very clear and full sound on that dreadnaught

    And we will never let that Careless Whisper down:



    Honestly, Hep--seems like something you'd do when we were back in the ol' cottage cheeze of CCNY.

    What happened to your Guild?

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  3. #127

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    Quote Originally Posted by PickingMyEars
    Very clear and full sound on that dreadnaught

    And we will never let that Careless Whisper down:



    Honestly, Hep--seems like something you'd do when we were back in the ol' cottage cheeze of CCNY.

    What happened to your Guild?
    43 million views wow
    ...where is Jazz?

  4. #128

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    Attachment 79728
    Good Jam...:-)
    Last edited by kris; 03-01-2021 at 06:13 AM.

  5. #129

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    Kris and Tommo, I'm glad you enjoyed that.

    However, I just honestly reflect what I would maybe do in a jam on a tune that I'd never played before, so I'm pulling it into to familiar territory as far as possible (flamenco tinged blues, if you like). On relistening, I only hear the bad notes, of which there is a plethora... but you gotta post something.

    I have checked out the "tutorial" YT clip for this tune by Reg who sometimes posts here and, given time, would certainly try to cop some of that feel. I'd perhaps leave some of his knuckle-busting runs for some other time

    Hep, that's a great feel! Dug it. Turn the backing up - tell the neighbours we can't hear it!

  6. #130

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    Here's a take with my Elferink! Haven't played that tune in ages, so it's a bit of automated pilot mode (hehe, think i forgot about the E-7 A7 bars on the B section).. .. Huge Horace Silver fan, have a gazillion cds!

    Last edited by Alter; 02-28-2021 at 06:19 PM.

  7. #131

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    Smooth Alter! Like you're having a conversation with an old friend

  8. #132

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    Quote Originally Posted by Alter
    Here's a take with my Elferink! Haven't played that tune in ages, so it's a bit of automated pilot mode (hehe, think i forgot about the E-7 A7 bars on the B section).. .. Huge Horace Silver fan, have a gazillion cds!

    Outstanding take.

  9. #133

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    Quote Originally Posted by Alter
    Here's a take with my Elferink! Haven't played that tune in ages, so it's a bit of automated pilot mode (hehe, think i forgot about the E-7 A7 bars on the B section).. .. Huge Horace Silver fan, have a gazillion cds!

    Groove is great. Note choices are melodic and harmonically interesting. Puts me in mind of Wes. Great job!

    Edit: I just stole one of your licks. Thanks.
    Last edited by rpjazzguitar; 03-01-2021 at 04:06 PM.

  10. #134

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    Quote Originally Posted by kris
    Good playing but I can not hear any bass from background.
    Guitar sound exelent.
    Thanks, yea, I didnt think the setup very well, put the laptop too far from the phone, next time maybe put the backing track into PA.

  11. #135

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    Alter: Bossa in the monastery never sounded so good - top!

  12. #136

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    Quote Originally Posted by PickingMyEars
    Very clear and full sound on that dreadnaught

    And we will never let that Careless Whisper down:

    He is not above the law!
    He IS above the the law.

  13. #137

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    Quote Originally Posted by christianm77
    He is not above the law!
    He IS above the the law.
    Yes, but what a beautiful melody ...

  14. #138

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    Quote Originally Posted by Alter
    Here's a take with my Elferink! Haven't played that tune in ages, so it's a bit of automated pilot mode (hehe, think i forgot about the E-7 A7 bars on the B section).. .. Huge Horace Silver fan, have a gazillion cds!

    Long take but really nice.

  15. #139

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    Here's my contribution:



    Any comments welcome.

  16. #140

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    Quote Originally Posted by TOMMO
    Here's my contribution:



    Any comments welcome.
    Cool mood.The quote from Solar Miles Davis at the beginning draws attention and encourages listening.
    Best
    Kris

  17. #141

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    Quote Originally Posted by kris
    Cool mood.The quote from Solar Miles Davis at the beginning draws attention and encourages listening.
    Best
    Kris
    Thank you kris!

  18. #142

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    Quote Originally Posted by TOMMO
    Here's my contribution:



    Any comments welcome.
    Nice Solar quote. Overall, good feel, good tone, good ideas.

    John

  19. #143

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    Quote Originally Posted by Alter
    Here's a take with my Elferink! Haven't played that tune in ages, so it's a bit of automated pilot mode (hehe, think i forgot about the E-7 A7 bars on the B section).. .. Huge Horace Silver fan, have a gazillion cds!

    Really nice one. I was afraid I might not be able to listen to that long a take, but it held my attention. That guitar sounds great, too.

    John

  20. #144

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    Quote Originally Posted by TOMMO
    Here's my contribution:



    Any comments welcome.
    Your solo really sings. Like kris, I loved the quote at the beginning though I couldn't remember where it came from (Thanks Kris for the ID!). Your tone and the quality of the sound on the clip is also really good.

  21. #145

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    Quote Originally Posted by John A.
    Nice Solar quote. Overall, good feel, good tone, good ideas.

    John
    Thank you John!

    Quote Originally Posted by lawson-stone
    Your solo really sings. Like kris, I loved the quote at the beginning though I couldn't remember where it came from (Thanks Kris for the ID!). Your tone and the quality of the sound on the clip is also really good.
    Thanks lawson!

  22. #146

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    So this is my first take on this tune. I had never even looked at the lead sheet until it came up in this group, so on Friday I decided I'd work on this for a couple days then do a clip of whatever progress I'd made, the tune and the improvisation. From starting at zero, I think I've done pretty well. But clearly I have a long way to go!

    I made the decision also not to slow it down too much. I've done this at about 75% of the default tempo of the backing track. I didn't want to drop into mystical floating sort of playing but to keep it crisp, the way the recordings I've heard do it.

    I also find the backing track here, the Hal Leonard/Real Book track, to be really hard to play with. It has all that rhythmic shifting and slipping that makes this tune wonderful, but it's hard on me trying to figure out where the beat is!

    Despite the many mistakes and clams, I'm happy to have this tune now in my head and more or less under my fingers. I've a long way to go, but I'm not intimidated but it anymore.

    Any helpful observations or advice is welcome!

    Last edited by lawson-stone; 03-02-2021 at 12:54 PM.

  23. #147

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    Quote Originally Posted by lawson-stone
    So this is my first take on this tune. I had never even looked at the lead sheet until it came up in this group, so on Friday I decided I'd work on this for a couple days then do a clip of whatever progress I'd made, the tune and the improvisation. From starting at zero, I think I've done pretty well. But clearly I have a long way to go!

    I made the decision also not to slow it down too much. I've done this at about 75% of the default tempo of the backing track. I didn't want to drop into mystical floating sort of playing but to keep it crisp, the way the recordings I've heard do it.

    I also find the backing track here, the Hal Leonard/Real Book track, to be really hard to play with. It has all that rhythmic shifting and slipping that makes this tune wonderful, but it's hard on me trying to figure out where the beat is!

    Despite the many mistakes and clams, I'm happy to have this tune now in my head and more or less under my fingers. I've a long way to go, but I'm not intimidated but it anymore.

    Some nice ideas!

    I'm going to comment more on the backing/time issue.

    A few years back I found myself in a small jam session with world class players (at least one name you all know) on bass and guitar. I was second guitar (I was a student). I can't recall who was playing drums. The tune was Samba Novo, which is a simple tune all except for the usual tempo which is breakneck. I've played the tune many times. We played it from a chart which I've had in my band book for years.

    In other words, I should have been able to participate in this jam for this tune.

    What then happened was that these great players took the tune into rhythmic outer space, playing beyond brilliantly. Whereupon, with my own chart in front of me of a tune I had memorized anyway, I got lost. I couldn't tell where the beat was. I think that they could hear it in their heads and that nobody was actually playing it for stretches. I don't have that kind of metronomic pounding in my head and I couldn't do it. I had to stop playing.

    I'm fairly certain that this was driven by the bassist, because I've heard him do it in other contexts. The great players love it. I'm not certain about us mere mortals. In another session with the same bassist and a high level pro drummer, the drummer got excited, saying, "this time we weren't trying to play the music, we were playing it!"

    So, now finally coming to my point, this whole thing about the rhythmic content of the backing track is yet another thing for the developing musician to get his/her mind around. If the track is known to be good, then I'd suggest listening to it over and over until you can feel it.
    Last edited by rpjazzguitar; 03-02-2021 at 01:49 AM.

  24. #148

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    Quote Originally Posted by lawson-stone
    So this is my first take on this tune. I had never even looked at the lead sheet until it came up in this group, so on Friday I decided I'd work on this for a couple days then do a clip of whatever progress I'd made, the tune and the improvisation. From starting at zero, I think I've done pretty well. But clearly I have a long way to go!

    I made the decision also not to slow it down too much. I've done this at about 75% of the default tempo of the backing track. I didn't want to drop into mystical floating sort of playing but to keep it crisp, the way the recordings I've heard do it.

    I also find the backing track here, the Hal Leonard/Real Book track, to be really hard to play with. It has all that rhythmic shifting and slipping that makes this tune wonderful, but it's hard on me trying to figure out where the beat is!

    Despite the many mistakes and clams, I'm happy to have this tune now in my head and more or less under my fingers. I've a long way to go, but I'm not intimidated but it anymore.

    I like the tone a lot!

  25. #149

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    Quote Originally Posted by lawson-stone
    So this is my first take on this tune. I had never even looked at the lead sheet until it came up in this group, so on Friday I decided I'd work on this for a couple days then do a clip of whatever progress I'd made, the tune and the improvisation. From starting at zero, I think I've done pretty well. But clearly I have a long way to go!

    I made the decision also not to slow it down too much. I've done this at about 75% of the default tempo of the backing track. I didn't want to drop into mystical floating sort of playing but to keep it crisp, the way the recordings I've heard do it.

    I also find the backing track here, the Hal Leonard/Real Book track, to be really hard to play with. It has all that rhythmic shifting and slipping that makes this tune wonderful, but it's hard on me trying to figure out where the beat is!

    Despite the many mistakes and clams, I'm happy to have this tune now in my head and more or less under my fingers. I've a long way to go, but I'm not intimidated but it anymore.

    You're almost there. I agree that this backing track is challenging. The ride cymbal is playing a tricky pattern that's hard to extract quarter notes from. On the original Art Blakey version, he's playing that pattern on the (closed) hi-hat and it's crisper and easier to follow Maybe try playing along with that rather than the backing track to see if that feels better?

    Also, I find it a lot easier to hear both time and form in the bass than in either the drums or piano on this tune (in both recordings and backing tracks). On the latin part, the bass figure lands on 1 and 4 right on the beat, so it gives a clear indication of the beginning and end of the measure. On the swing part the bass is right on 2 and 4.

    John

  26. #150

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    All Latin backing tracks tend to get tricky if one can't hear the bass clearly, cause, despite the claves, many times the bass is what's holding the groove together. And bass is often mixed way too low.

    And then people will be listening on phones and laptops where it might not even be audible at all..