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Both Village Vanguard live albums plus one from '83 at the Village Gate - great stuff!
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03-10-2021 08:03 AM
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Originally Posted by Alter
The first 12 bars seem obvious, just like you write.
Then, on the studio version I have (Them Dirty Blues) they play the chords you wrote before:
| F7 | Bb7 | Db7 C7 | Fm7 |
But if you check this live recording from Youtube - some footage from an Oscar Brown Jr. TV show (Jazz Scene 1962) - if my ears are don't fool me, there is no F7 to Bb7 anywhere. They seem to play:
| Db7 | C7 | Db7 C7 | Fm7 |
So there are at least 2 different versions by the Adderleys themself out there.
This is the video:
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Originally Posted by DonEsteban
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Originally Posted by djg
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Originally Posted by djg
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Originally Posted by grahambop
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Originally Posted by djg
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Originally Posted by lawson-stone
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Originally Posted by DonEsteban
Fm7 IDb7 C 7IFm7 I Db7C7IFm7 I Db7 C7I Gm7I C7 I
Fm7 I Db7 C7I Fm7 I Db7 C7IF7 I Bb7I Db7 C7I Fm7 II
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Originally Posted by kris
sometimes they play Fm7 to C7, sometimes Fm7 to Bb7. sometimes the milestones idea, Fm Gm Ab Gm. i hear it all at various points in that live recording
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Originally Posted by grahambop
Keeping time until the end is a really big challenge.
I hear minimal time hesitation but I know that playing like this without backing is very difficult.
Best
Kris
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The big takeaway of course, is that it's a non 12 bar blues...there's i, there's IV, and there's V. Target accordingly.
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Originally Posted by djg
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Originally Posted by grahambop
Hope everybody had fun with this tune. I just picked this week's...its a doozy
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Originally Posted by kris
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Originally Posted by mr. beaumont
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Originally Posted by lawson-stone
The chordal chorus sounded good as well. I mean... I can't do that chordal stuff to save my life, but I do love comping for others. Another thing to practice
For that last bit, I think it's easiest to look at all the parts that stay the same. Target the notes that change. That A natural in the F7 is a key note, because--at least the way I hear it--it falls out of the Fm tonality. Oddly enough, Wes sure plays the heck outta that major third...
Db7 is "outside the key"... but the key note there is the B natural (b5 of the key). I am a fan of thinking key based and then layering in the harmony to catch that harmonic movement. B natural ain't that "outside" for F minor and neither is Db (the b6th). I practice isolating those sounds against the key--here and in any other tune I practice. I can access things faster with my ears than with my brain when I improvise... I think that is common with a lot of jazz musicians--but they do it WAY better than I
Oh... and we need one more take. We are all missing key source material for our adventures into Hardbop. Hopefully I don't get stricken down if I post the missing ingredient. As Cannonball says, "I dun mean Bach CHOOORALLLLS, you know what I mean...?"
If my work doesn't get ahead of me... you know, "Nobody knows the work I do around here..."--they really don't at my job, but that's gotta be a common refrain for many of us.
Anyway, if I can--I wanna try quoting some of the source material for all this
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Originally Posted by djg
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Anyway I have no beef with bVI7. Just suggesting possibilities. bVI7 has been a common chord in the minor key for a few hundred years. It’s good to learn to deal with it.
(Although playing B-Bb and not B-C on Db7 Fm is a definite Blues thing. Classical would go up.)
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Originally Posted by mr. beaumont
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Originally Posted by christianm77
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Now I'm curious--what's the "like this you mean?" video Christian? It's coming up as "unavailable."
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Originally Posted by mr. beaumont
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Originally Posted by grahambop
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Originally Posted by wzpgsr
1979 L5 CES - Sweden ~$7k
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