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This week it's no surprise, its Nica's Dream!
First, a few musings on this whole process so far...
Have fun.
Last edited by mr. beaumont; 02-25-2021 at 11:11 PM.
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02-25-2021 07:00 PM
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Here was my first real try... still needs work.
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That said, I thought the solve was more eighth notes so I did this take:
Rough indeed. Anyone else notice how I was all over the place with the time in that take? I did. Playing mixed feels with just a bass player at a "fast" tempo (even with the great MR. SUNNYBASS) is more challenging than I thought. I wanted to show more of the development by posting an "in progress" take of Nica's Dream.
My next take will be longer phrases that sit better in the pocket! No rushing! No draggin!
And yes, a lot of dream tunes. My favorite "dream" tune is "You Stepped Out Of a Dream."
Love Nica's Dream too!
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Here it is... Recorded with a bass player and the Drum Genius app. Since I couldn't get the app to learn the form and switch from Latin to Swing, I used a Boogaloo groove. Plenty of picking goofs and badly fretted notes...But hey it's 'live' right?!?
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Jeff, great phrasing, feel and tone! Love that guitar. Heritage right?
Picking my ears, liking the "dive into it" attitude! And "You Stepped Out Of A Dream" has been my "go to" tune for the last few years (Especially if I get to call a tune at a Jam...Man that's been awhile).
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I think this sounds good!
Originally Posted by PickingMyEars
I actually find Mr. Sunnybass hard to play with sometimes, because he plays real bass lines, not just keeping time.
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This sounds great. Works good as a Boogaloo. Nice lines, phrasing...this is the type of playing I really enjoy. And great tone too. Originally Posted by Ronstuff
Oh, and yes, a Heritage 575...bought it used almost 10 years ago...got it for a price folks ain't gonna see on a Heritage again, I don't think...probably the best guitar decision I ever made.
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I took a few cracks at this one, messing around a bit with different tones. But decided to stop here. I could have played something more interesting/adventurous, and given that I know the tune reasonably well there's no real excuse not to, but I thought the feel was decent and it's a pretty good representation of the way I play. And if there's one thing I've learned after so many years of home recording, it's the value of quitting before energy completely fades.
Now, on to listening to you guys.
John
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I like this a lot, particularly you 8th note feel on the latin part...pushes ever so slightly...makes it exciting. Originally Posted by John A.
More great tone too...nice little bite to it.
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I like the boogaloo feel. I also like the way you did the bridge, really emphasizing the modulation to Abmaj. Great feel an tone throughout. Originally Posted by Ronstuff
John
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I enjoyed that a lot. It felt like you were laying back on the latin section a little, and then swinging pretty hard on the bridge, yet somehow kept it feeling like the same tune, not an abrupt shift between the two. Great tone and little harmonic twists and turns. Originally Posted by mr. beaumont
This week it's no surprise, its Nica's Dream!
First, a few musings on this whole process so far...
Have fun.
John
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Nice lines and ideas. Biggest thing I hear that could be improved is your timing. If feels like some of your phrases started a bit early or late. Your way better than me so take what I am saying for what it's worth.
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Mr. B I think we gotta change your handle to "Be Bop Bob Ross" after that musin' and musicin'
Lemme see what I can do with another take. This tune and me go back at least a year. Came to Washington. Starting going to sessions. Met people at a yogurt shop and they helped build up my confidence--though the you-git wasn't no Red Mango... still.
Decided to take a chance and try out one of the heavies in PNW jam land. The Owl n' Thistle I think... up northern Seattle.
Anyway. They called me up. Just me bass, and drums... I called Nica's Dream cause I was practicing it a bit.
Wow... not a good first call. This was before I got comfortable playing without a pianist behind me... Rough stuff.
So it's time to take back the tune a bit. I'll never own it, per say. But I want to know it enough to have fun with it. Swing a little. Sway a bit. And not get those nervous butterflies the next time it gets called at a session
Really enjoying what everyone else is doing with the tune. Not an easy tune by any means. That said, it's Horace Silver. Good to know some of his tunes. They wake up an audience of regulars, non musicians, people hanging out at the jam just to down some drinks and listen to music. And those people... they make for the best audience members at any jam session. They know how to have fun
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Yeah it's a busy jam track, but I LOVE that. Makes me really think about how to interact with "the band". I miss that interaction... Playing with the band, playing off the band, the communication. Makes it more fun and makes me less anxious about my own playing--gets me outta that "critical me" and all that.
Here's me playing with a "band" like in the first post (backing track)
Yes, Ragman--I am challenging you... to come up with better "song titles" for these improvisation clips than me. Can I be the Black Knight? Chicken, chicken, only a flesh wound:
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Jeff, you have very fashionable pants and well winter is over.Nice playing. Originally Posted by mr. beaumont
Have fun.
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Great woman, just been reading about her. I let it run on a bit because it was nice being back off the fairy dust... oops :-)
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But much more important than my somewhat diatonic ramblings, try this for sheer skill... incredible.
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I'll probably come up with something wackier later.
As for you, Mr. Picking, I decline your challenge because you'll win hands down. No one's as crazy as you are.
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What's that? Creativity flagging? No idea what to do to make this tune compelling?
Take the cheapened cheerful route and turn it into a Gypsy Swing number!
Did this a while back. I actually think all the twiddles in the melody make it quite a good fit stylistically.
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good versions. also maybe check out the original chord Eb7 in bar 5 of the bridge.
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yes... Originally Posted by djg
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Thanks for your little "thoughts" video, Jeff - it's nice to finally hear the voice of a member - great versions of yours as a starter as well.
Very fine contributions so far - very inspirational some are. Good to have had an early start on this week's tune since the form is unusually long and more complex than others. Have been working on getting familiar enough with it so I would feel more comfortable when it's time to record which may be on sunday.
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and the GG reference:
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Originally Posted by ragman1
What a master...Ed Bickert... just SO GREAT!
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Originally Posted by John A.
Really Nice John, great lines and flow of ideas!
Ron
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You get me, djg. You're "my people." Originally Posted by djg
I did always wonder about this tune, can't remember if it's talked about in the liners...I mean...it's clearly Nica.
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except that he goes from Bbmmaj7 to Eb7 and has none of the sidestep ii-V or II7 stuff in the bridge. very reductionist. almost a mix between love for sale and nica. Originally Posted by mr. beaumont
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Great idea, Christian. The song works surprisingly well and your playing is spot on. Really enjoyed it. Originally Posted by christianm77
Jeff: Next tune has to be Dolphin Dance, and Christian has to do GJ on that!
John
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Originally Posted by John A.
Very nice! You play a lot of really beautifull jazz lines.
Best
Kris
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I think maybe the title gives it away. Green expressing his envy over Silver's success with the tune (I assume tongue in cheek), by writing a barely disguised copy. They were both Blue Note artists and this is probably an inside joke between the two of them. Originally Posted by djg
John
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Christian, I enjoyed the heck out of that. Really does work in that style, and your snappy lines are sounding great there.
Rag, I think one of my favorite posts of yours so far. Your playing style really fits ver that wistful bossa feel.
Kris, really playing on the dream part of the title...totally different feel than the original, and it really works. Great space and patience in your lines, and I'm still one of 7 people on the planet who really likes chorus
John A. The "inside joke" idea did occur to me...I guess the part I found interesting is that. lot of folks write contrafacts on the harmony, but Grant really kept the A section melody pretty close to the original, and changed the chords up a bit...
Re: my ripped jeans, it topped 40 degrees here yesterday, for the first time in a good long while... In my neighborhood, there was plenty of dudes grilling and wearing shorts. I would have joined on the grilling, but I still have a two foot high mound of snow and ice blocking my garage door where my Weber is being held hostage by the elements at least another few days.
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Like it! I like the overt bop ideas in this some kinda after-bop/still-bop tune. Nice to hear a clean archtop sound on a tune like this as well! Originally Posted by John A.
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It does actually change to 4/4 swing in the middle but for some reason it's not that obvious. Originally Posted by mr. beaumont
Quite funny :-)dudes grilling
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Good one, Rags. Straddles the line between mournful and lugubrious. In a good way. Originally Posted by ragman1
John
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Thanks John! I can see this is going to be my place in life ;-) Originally Posted by John A.
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Lugubrious already means mournful, they're synonyms. But I blame all those min/Maj7 chords myself :-) Originally Posted by John A.
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Sorry, I should have said that it straddles the border between dolorous and sad. Originally Posted by ragman1
John
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You, sir, have made my day. From one word lover to another. Originally Posted by John A.
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Well, dolorous and sad are probably synonyms too. Not what I felt when playing it, I have to say, but the feelings created by m/maj7s are redolent of sadness, I suppose. Depending on how one plays them, I suspect.
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Christianns style was great so i added the chords and melody to band in a box and it generated this..not me playing ...real track style ...Gonzalo Bergarra Vocaroo | Online voice recorder
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maybe. but it's more like likely that somebody else (alfred lion, ike quebec?) named that tune. i think grant was at times a bit cocky (and rightfully so) and would not have referred to himself as envious. after all it was grant who suggested that wes should take up the guitar pick, lol.... Originally Posted by John A.
and nicas dream was already a few years old. grant surely knew and dug burrells 1957 version with silver. probably he wanted to go a slightly different road.
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N Originally Posted by christianm77
Not so far off the beaten path as might seem:
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Yes, those are synonyms, too. You might says that my intentions in treating pairs of synonyms as if they were opposites straddles the line between levity and lightness. Or you might note that my humor straddles the line between abstruse and obscure. Six of one and half a dozen of the other. Originally Posted by ragman1
John
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I did notice the bop players didn't sound particularly dolorous so it must be the style.
I'm actually wondering why m/maj7 chords were used at all. Was it meant to be sad, or maybe enigmatic or mysterious? Horace must have had something in mind.
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Implied by the melody? Originally Posted by ragman1
Sent from my iPad using Tapatalk
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I'm guessing (based on the title) it was meant to evoke a dream Nica described. So dreamlike, if not [insert pair of synonyms for puzzling here]. I actually don't perceive the song as "sad" or any other cliched link between tonality and mood. It seems almost narrative to me. The different sections strike me as "first this happened [in the dream], then this did, and then that did ...]" I can easily picture a bunch of them sitting around a table with Nica telling them the surreal details of her dream, and Horace going home and turning it into a tune. At least I hope that's the story and not Robert Klein's bit about a hot dog chasing a donut through the Lincoln Tunnel. Originally Posted by ragman1
John
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Most colorful step of the classic minor Montuno pattern? Originally Posted by ragman1
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One thing that might harken back to on of Chris'77's youtube videos about chord chart frustrations and chord scales.
Those minor major chords on the A sections. You listen to Donald Byrd or Blue Mitchell or any of the soloists in these key recordings of Nica's Dream that we spoke of earlier and... they don't always stick to a minor/major sound when they solo. Actually, that second chord--the Ab m/maj 7--I found that the G natural was rarely expressed in the solos. If I looked at those two chords with a CST bent, I'd do melodic minor on both. At least to my ear, that doesn't work. A lot of mixing here. Natural 6's with b6s. Introducing a Gb over the Ab m/maj 7 and bringing it back to the Bb m/maj 7 as a b6th. Colors more so than scales.
I ordered that Curtis Counce "Carl's Blues" with Nica's Dream on it--hard to get a hold on that album. If you didn't see on my post from last round, Harold Land is on that record playing Nica's Dream. Yes, the same guy that played with Brownie. He put out some great stuff as a leader. Anyway, him and Jack Sheldon take what I think are perfect solos over Nica's Dream. Worth a listen again.
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Well, first of all here's Picking's track. Very nice. I notice that they don't use the mel m notes much and the chords seem to vary between the m/maj7 and m6.
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