The Jazz Guitar Chord Dictionary
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  1. #101

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    Quote Originally Posted by PickingMyEars
    Very nice. And thanks for giving credence to those of us that like to "ride 'em high." I put in taller frets, and raise my bridge high enough to allow me to dig in and not fret out. Helps me vary the dynamics. Also gives my guitar "the sound." A lot people in these parts like to brag about setting up a guitar like a limbo contest "how low can you go." That's cool but it ain't the only acceptable way to setup a geetar

    For me, the trick is to raise the bridge just right. Too high and all the sustain cuts--that's Freddie Green territory. But if you get right underneath that threshold... To me, it sounds like Wes and Grant Green.
    On the Stratocaster and Telecaster I have very low strings and I must say that I like this setting.
    However, I am still looking for a hollow-body setup.In the case of hollow-body, the quality of the instrument is very important. I think so.

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  3. #102

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    Very nice version, ragman - kinda "country blues"-ish, reminds me a bit of those old murder ballads like Frankie and Johnny.

  4. #103

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    Tommo -

    Well, this is the deceptive nature of these things. When I was doing it it sounded very thump-thump, like the big hammer whacking a rock. Coming to it later, now it sounds bouncy, not my intention at all. Ah well, c'est la vie

  5. #104

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    Quote Originally Posted by wzpgsr
    I didn’t think anyone here knew my last name.
    There are no secrets on the internet.

    John

  6. #105

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    Anybody else remember wzpgsr's name spelling when responding to him in a post by referring to him in your head as Wizard Pickguard Senior?

    No?

    Just me?

    I'll get back to figuring out what this week's tune will be then. Nothing to see here.

  7. #106

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    Here's a version I did. Most backing tracks on the net have different chords to the original which felt wrong for me to play over, so I just looped a walking bass chorus.

    To me this song shines when the band plays an Art Blakey shuffle (and I try to be Grant Green! ). But this version turned out different ..

    This series of threads has been great. It's great to hear/see everyone playing, it's the closest thing to hanging out and having a jazzguitar.be jam session we can get! Only the drinks missing, so cheers everybody, and kudos to the OP..!


  8. #107

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    Quote Originally Posted by Alter
    Here's a version I did. Most backing tracks on the net have different chords to the original which felt wrong for me to play over, so I just looped a walking bass chorus.

    To me this song shines when the band plays an Art Blakey shuffle (and I try to be Grant Green! ). But this version turned out different ..

    This series of threads has been great. It's great to hear/see everyone playing, it's the closest thing to hanging out and having a jazzguitar.be jam session we can get! Only the drinks missing, so cheers everybody, and kudos to the OP..!

    Truly nasty. Love it.

  9. #108

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    Quote Originally Posted by Alter
    Here's a version I did. Most backing tracks on the net have different chords to the original which felt wrong for me to play over, so I just looped a walking bass chorus.
    Cool - enjoyed that!

  10. #109

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    Quote Originally Posted by Alter
    Here's a version I did. Most backing tracks on the net have different chords to the original which felt wrong for me to play over, so I just looped a walking bass chorus.

    To me this song shines when the band plays an Art Blakey shuffle (and I try to be Grant Green! ). But this version turned out different ..

    This series of threads has been great. It's great to hear/see everyone playing, it's the closest thing to hanging out and having a jazzguitar.be jam session we can get! Only the drinks missing, so cheers everybody, and kudos to the OP..!

    Very nice take with a beautiful solo.

  11. #110

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    Alter, some FANTASTIC inside out in there. Very Sco of you Love it.

  12. #111

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    This is more of a journal entry... trying to get this TUNE learned. I find the last 4 measures are hard to feel. Maybe it's the backing track, but it's likely my own lack of some basic natural rhythm!

    Advice and counsel welcome, especially on how to tackle that last 4 measures. Please don't say "just feel it" I sorta already know that.

    Also: Attempted more of a chordal chorus at the end. Didn't go very well.


  13. #112

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    Quote Originally Posted by lawson-stone
    This is more of a journal entry... trying to get this TUNE learned. I find the last 4 measures are hard to feel. Maybe it's the backing track, but it's likely my own lack of some basic natural rhythm!

    Advice and counsel welcome, especially on how to tackle that last 4 measures. Please don't say "just feel it" I sorta already know that.

    Also: Attempted more of a chordal chorus at the end. Didn't go very well.

    I hear ya. I’ve been looping that last bit at a slow tempo, listening and trying to connect the chords in musical ways: Fm | F7 | Bb7 | Db7 C7 | Fm. Rinse and repeat.

    The chords fly by quickly—nothing wrong with laying into some blues over that Db7-C7. Or a nice sounding pattern with a chord tone or two, first in Db7, then repeated a half-step down.

  14. #113

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    Quote Originally Posted by wzpgsr
    I hear ya. I’ve been looping that last bit at a slow tempo, listening and trying to connect the chords in musical ways: Fm | F7 | Bb7 | Db7 C7 | Fm. Rinse and repeat.

    The chords fly by quickly—nothing wrong with laying into some blues over that Db7-C7. Or a nice sounding pattern with a chord tone or two, first in Db7, then repeated a half-step down.
    i'll make a vid if i find the time. the Db7 is basically there to harmonize the b5 in the blues scale. so the B (Cb if you must) is the most important note there. also note that Db7 is non-altered while the C7 is altered so the symmetry thing has to be handled with care. my personal concept is derived from wes and martino. for Db7 i think Bmaj7 (like wes) or Abm7 (like pat).

  15. #114

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    Sounds good, lawson. Like being said above: if you play F blues with a b5 over those chords you can't go wrong - it'll sound great.

  16. #115

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    Quote Originally Posted by TOMMO
    Multiquoting: click on the lower right icon to multiquote a post and the last post you want to quote click on "reply with quote"
    Quote Originally Posted by lawson-stone
    This is more of a journal entry... trying to get this TUNE learned. I find the last 4 measures are hard to feel. Maybe it's the backing track, but it's likely my own lack of some basic natural rhythm!

    Advice and counsel welcome, especially on how to tackle that last 4 measures. Please don't say "just feel it" I sorta already know that.

    Also: Attempted more of a chordal chorus at the end. Didn't go very well.

    One way to do it is play F blues throughout that section. The ear will hear the F blues as making sense. The ear will also hear the actual changes underneath. I think bitonality will be created, where the listener tracks both at once. It will sound good.

    Another approach would be to slow it way down and try to hit the important notes, that is,the ones that change from one chord to the next.

    F7 to Bb7 ... you can hit A-->Ab, Maybe Eb-->D.

    Then, it goes to G7. So, you're going from Bb D F Ab to G B D F. So,you can drop the Ab to G and raise the Bb to B.

    For the G7, the main thing is lowering the B to Bb.

    So, your line might go A Ab G Gb F. Or A Ab B Bb Ab. Or A Ab G G (for both chords) F
    Once you can hear the guide tones, then you can embellish them.

    The second approach is a lot more complicated. That doesn't make it better. My choice in my clip was just to play on Fmin and let the comping "do the work".

  17. #116

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    Barry Harris strategy

    Db7 C7 Fm

    Play

    Gm7b5 C7 Fm

  18. #117

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    Quote Originally Posted by christianm77
    Barry Harris strategy

    Db7 C7 Fm

    Play

    Gm7b5 C7 Fm
    I do not know B.Harris strategy but I think:
    Db7 C7 Fm is taken from G7b5 C7 Fm
    Db7 looks like substitute for G7b5
    ...anyway both strategies work

  19. #118

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    I kind of see 4 basic parts and movements in this song, that I enjoy practicing separately also.

    First 6 bars tonic F-7

    Bars 7-8 moving from tonic to target dominant C7

    Bars 9-12 tonic F-7 again.

    Bars 13-14 are about targeting the Bb7 (classic 4 chord on blues)

    And the last two bars are a movement back to the tonic (using some variation of subdom-dom-tonic or just dom-tonic sounds).

    It took really learning when the first C7 and when the Bb7 arrive to feel comfortable with the tune.

    About the last two bars, I really enjoy how Grant Green and Wes handle this movement where they usually mix a bit of lines and a bit of blues or scalar material (Green often just plays some variation of F harmonic minor lick). So one great approach is to transcribe some licks of them.

  20. #119

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    Quote Originally Posted by christianm77
    Barry Harris strategy

    Db7 C7 Fm

    Play

    Gm7b5 C7 Fm
    yeah, but Db7 C7 Fm is a hard-bop move, similar to tunes like full house etc. we need the blues scale here, which BH is not a big fan of. the beboppers made everything II-V, which imo actually trivializes the progression at hand.

    edit: i'm reminded of this. this is pure hardbop, a quite different place from the BH realm.
    Last edited by djg; 03-10-2021 at 09:47 AM.

  21. #120

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    I first learned this tune years ago from Kenny Burrell's solo version on his 'Live at the Village Vanguard' record, so here's my solo take inspired by KB.


  22. #121

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    Don't rack your brains about too much theory regarding Db7 -> C7 -> Fm. It's a classic cadence in minor blues - the most famous probably being "Thrill Is Gone". A blues player would bend the 4 a half step into a b5 for VI7 and release to the 4 over V7.

  23. #122

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    Quote Originally Posted by grahambop
    I first learned this tune years ago from Kenny Burrell's solo version on his 'Live at the Village Vanguard' record, so here's my solo take inspired by KB.

    Wonderful, graham - love it!
    I was thinking about doing another clip doing exactly that: playing without a backing track but ditched the idea because my playing probably wouldn't have been much different from my first attempt.

  24. #123

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    Quote Originally Posted by grahambop
    I first learned this tune years ago from Kenny Burrell's solo version on his 'Live at the Village Vanguard' record, so here's my solo take inspired by KB.
    man, that is such a good record. i used to play the arrangement of "love you madly" with a trio.

  25. #124

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    Quote Originally Posted by djg
    man, that is such a good record. i used to play the arrangement of "love you madly" with a trio.
    yes, and they released 2 records from the same night, I’ve got them both!

    JGBE Virtual Jam (Round 8) - Work Song-0167e9b0-8eb2-4c5a-a292-004603d9dff8-jpeg

  26. #125

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    wow. i never realized that.