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  1. #1

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    This week was John A's pick, and its a good'un.

    JGBE Virtual Jam (Round 12) - Unit 7-1617288256765-jpg

    Some quick notes from John:

    This song is a 12-bar blues in C with a bridge in C major. The whole form is AABA (two choruses of blues, 8-bar bridge, one more chorus of blues), a total of 44 bars. The composer is bassist Sam Jones, who wrote it for Cannonball Adderley. There's a great version by Wes/Wynton Kelly on Smokin' at the Half Note, as well as the Cannonball Adderley version.

    I used Mr. Sunnybass as a backing track. Note that his full track on youtube is over 7 minutes long, I imported that into my DAW and chopped it down to just two full choruses of the form + an ending tag. This yields a nice length for JGF Jam purposes. I can share this backing track as an mp3 or itunes format. If interested, send me a PM and I'll figure out how to do that. I may try something similar with a full backing track.

    It took me longer than I expected to come up with a usable take on this, because of the head. I've messed around with this tune a bit in the past, but never worked on it seriously or played it with other people. I thought I knew it and had it burned into earworm memory, but upon closer listening to the Rivers and Wes versions, I realized I had it wrong and had internalized a bunch of mistakes. Took a lot of effort to re-learn it correctly. Obviously, not necessary to do that for jam purposes, but it's a very interesting head worth diving into. If you're going to play it, make sure you get all the little ornaments and triplets in the bridge right, otherwise you'll land in the wrong place at the end. I also found it quite tricky to get into a groove with just a bass as accompaniment. I found that I really needed to simplify my soloing not to get lost. Interesting experience, but probably more fun with a full backing track.


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  3. #2

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    Quote Originally Posted by mr. beaumont
    This week was John A's pick, and its a good'un.

    JGBE Virtual Jam (Round 12) - Unit 7-1617288256765-jpg

    Some quick notes from John:

    This song is a 12-bar blues in C with a bridge in C major. The whole form is AABA (two choruses of blues, 8-bar bridge, one more chorus of blues), a total of 44 bars. The composer is bassist Sam Jones, who wrote it for Cannonball Adderley. There's a great version by Wes/Wynton Kelly on Smokin' at the Half Note, as well as the Cannonball Adderley version.

    I used Mr. Sunnybass as a backing track. Note that his full track on youtube is over 7 minutes long, I imported that into my DAW and chopped it down to just two full choruses of the form + an ending tag. This yields a nice length for JGF Jam purposes. I can share this backing track as an mp3 or itunes format. If interested, send me a PM and I'll figure out how to do that. I may try something similar with a full backing track.

    It took me longer than I expected to come up with a usable take on this, because of the head. I've messed around with this tune a bit in the past, but never worked on it seriously or played it with other people. I thought I knew it and had it burned into earworm memory, but upon closer listening to the Rivers and Wes versions, I realized I had it wrong and had internalized a bunch of mistakes. Took a lot of effort to re-learn it correctly. Obviously, not necessary to do that for jam purposes, but it's a very interesting head worth diving into. If you're going to play it, make sure you get all the little ornaments and triplets in the bridge right, otherwise you'll land in the wrong place at the end. I also found it quite tricky to get into a groove with just a bass as accompaniment. I found that I really needed to simplify my soloing not to get lost. Interesting experience, but probably more fun with a full backing track.

    Thanks Jeff. As always, comments and critiques welcome.

    John

  4. #3

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    OOOOOOOOO good pick....

    Smokin' at the Half Note was my favorite album for a WHILE. Transcribed a bit of No Blues. Definitely my favorite Wes album, though I hate to admit it. Name someone who plays jazz guitar and doesn't like "Smokin' at the Half" note and send them to me... That is the album to learn how to SWANG-A-LANG.

    Nice playing to start us off, John A!

    Playing anything that Wes made "his own" is hell for me. I stop playing and say "Wes, please forgive me! I'm not worthy! I'm not worthy!"

    Blues with a bridge. John A., your choice of blues doesn't disappoint.

    I am sticking with Cannonball and Wes for this one on my playlist. Must. Fight. Not. Buying. More. MUSIC....

  5. #4

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    Fun fact for a backing track: Smokin at the Half Note is an oddly mixed album when it comes to stereo separation. On "Unit Seven" they sent Wes' guitar all the way to the left! So if you just listen to the right channel, you get the piano and a lot of the drums, and about half of the bass (volume wise). That's actually enough! You're jamming with Wynton Kelly!

  6. #5

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    First take, first time I played this tune in a while. Wanted to approach it 0 to 60.

    sloppy, but I wanted to get right in on this:


  7. #6

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    Well, that was fun :-)


  8. #7

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    I love the Wes version, but I've really been getting into the Cannonball version recently.



    His solo is pretty wild (check out what he does from around 2:00 on).

    John

    PS: I really hope I can find the time to do another on this with a backing track and stretch out a bit. The one that's there on youtube is pretty lame (especially on the head section). I may have to buy the Aerbersold version.

  9. #8

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    Quote Originally Posted by ragman1
    Well, that was fun :-)

    That submission might be your best yet, in my opinion. The melody sounded really laid back and settled, but you gave it a subtle swing. Your lines sounded cohesive and melodic. Very bluesy, and very hip. Very groovin'!

    Just my two cents.

  10. #9

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    I found a better way to record my stuff...

    Use a speaker on the floor and play the backing through that.



    Lost track of the recording time because I was eyeing my work calendar. Did this one at the end of a prep period, and right before a student meeting

    Speaking of which, exciting news. I got the greenlight for my "Our Musical Language" high school class. 17 students enrolled, which is an amazing class size--ask any other teacher in the country and they will agree. Maybe I will journal the experience... but you all know me and my journaling
    Last edited by PickingMyEars; 04-02-2021 at 03:49 PM.

  11. #10

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    Quote Originally Posted by John A.
    (check out what he does from around 2:00 on).
    .
    Not much good for guitar!

  12. #11

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    Another new one for me! I knew the tune but had never played it.
    I hadn't played my Tele in a while, that was fun!
    With my bass player buddy, who decided to appear in the video this time!

  13. #12

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    Trying to get more traction with this thread and keep the jam alive.

    So here I go bringing some controversy... which really shouldn't be controversy

    Playing over the blues can teach us a lot.

    I will use my two solo's as an example of what a blues is not supposed to sound like:

    1. A blues is more than outlining the harmony--adding that would not make my blues sound any better than it is (which isn't that great to begin with)

    2. A blues is more than mixolydian and dorian and altered scales--I used too many ingredients in my solos, adding more would make it sound worse

    3. A blues is more than the blues scale--for a while I thought that the blues scale was the answer, and several notable musicians told me nope

    4. A blues is more than licks--more vocabulary wouldn't have saved my solo.

    5. A blues solo is definitely more than technique--even though technique can help you execute your ideas it's not the key to playing a great blues solo.

    So what makes a blues solo a BLUES solo? I don't think the defining characteristics of a great blues solo changes when you play it in a "jazz" context. Charlie Parker could play gut bucket. Those Blues for Alice changes don't make Charlie Parker sound bluesy because he already knew how to sound bluesy on a blues without them.

    T-Bone Walker, BB King, and many other uptown blues musicians played in front of horn sections. Ben Webster played with Jimmy Witherspoon and Jimmy plays down home blues. Ben played the same way with Jimmy Witherspoon as he played with Oscar Peterson.

    Oscar Peterson is bluesy as all hell if you really listen. Ulf Wakenius had a video on youtube where he explained OP's linear concepts.

    So, besides the changes... what makes a blues solo sound like a blues solo? My mentor asked me that once and I was really surprised because... I didn't have the answer. How is it that something so "simple" is so elusive?

    Before we explain with theory, take a step back and ask yourself the same question: what makes a blues sound like a blues?

    So what say you? For me, it was really listening to Billy Butler play on Honky Tonk no.1 that sent me in the right direction... but I am still far from where I want to be with my blues playing. At least now, I know what I am searching for

    I might not be an all star player, but I think I ask good questions--that's the one compliment I can give myself with confidence. My playing... maybe one day

    Hopefully this essay of a comment is worthwhile. I've certainly thought about this blues question a lot lately. And played a lot of blues lately.

  14. #13

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    Last take for this one unless you all compel me to take another... because of all the fun you are having with this BLUES



    Sound Cloud won't let me edit my track... and audicity isn't working right on my computer... Any suggestions? If I could cut this take to end at 2:38, before my sloppy octaves, that would be great... Wes octaves are hard to play convincingly... at least for me

    That and I think I should name this take "The time I tried to sound like Wes on Unit 7 but couldn't find the right double stops." I love the double stop thing that Wes does on No Blues, I think it's right before the octaves part? Transcribed that solo a while ago, but I think I gotta re-transcribe it.

    Ron, damn nice playing. Really jealous of the latin feel you get on the bridge. Tele sounds sweet on this tune. Right now, I am a one guitar household... for now... mwah hahaha

    Okay, I am off to transcribe Wardell Gray's solo on "Twisted"... That's the one that actually became the song later on when a vocalese was written over Wardell's solo. Now I can't unhear it

  15. #14

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    Quote Originally Posted by Ronstuff
    Another new one for me! I knew the tune but had never played it.
    I hadn't played my Tele in a while, that was fun!
    With my bass player buddy, who decided to appear in the video this time!
    Hell yeah. That was awesome. Dance music. Everything about it kicked ass, up to and including the part where the bass player rode in on a dragon. And that Tele sounds really damn nice.

  16. #15

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    I've done an alt take on this, much simpler.


  17. #16

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    Quote Originally Posted by PickingMyEars

    Okay, I am off to transcribe Wardell Gray's solo on "Twisted"... That's the one that actually became the song later on when a vocalese was written over Wardell's solo. Now I can't unhear it
    My analyst told me...

    Great start all...gonna try a take this afternoon then listen more closely to y'all...don't want to steal any ideas...yet.

  18. #17

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    Here we go, with some fuckups...feeling like I ain't played all week...which I haven't. I hate that feeling.

    Anyway, here we go.


  19. #18

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    Quote Originally Posted by mr. beaumont
    Here we go, with some fuckups...feeling like I ain't played all week...which I haven't. I hate that feeling.

    Anyway, here we go.

    Nice take. You had that driving, forward momentum eighth-note thing going on that I admire so much.

  20. #19

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    Listening notes(so far)

    John A. I love your 8th note feel. It swings hard, but its not bashing me over the head and screaming "its jazz, it swings!" Nice take.

    Ron, great stuff. Envious you've been getting to play these tunes with a real person. Your self comping on the B was great.

    Rag, an easy swinging lope up to the 7th floor. Nice

    Picking, another cliche free post...though maybe I'd like a few blues clichés from you every now and then. But another post where it's clear you're hearing what you play...noodle free zone...I dig that.

    Good stuff peeps. Who wants to call next week's tune?

  21. #20

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    Quote Originally Posted by mr. beaumont
    Listening notes(so far)

    John A. I love your 8th note feel. It swings hard, but its not bashing me over the head and screaming "its jazz, it swings!" Nice take.

    Ron, great stuff. Envious you've been getting to play these tunes with a real person. Your self comping on the B was great.

    Rag, an easy swinging lope up to the 7th floor. Nice

    Picking, another cliche free post...though maybe I'd like a few blues clichés from you every now and then. But another post where it's clear you're hearing what you play...noodle free zone...I dig that.

    Good stuff peeps. Who wants to call next week's tune?

    Thanks Jeff, I'll call the next one!

  22. #21

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    Quote Originally Posted by Ronstuff
    Thanks Jeff, I'll call the next one!
    Excellent! I'll send you a message.

  23. #22

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    Quote Originally Posted by ragman1
    Well, that was fun :-)

    Ragman I love your style. I can listen to your submissions all afternoon with an abundance of sunshine and a cool beverage in my hand.

  24. #23

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    Excited about the next tune! We've done a Golson tune, a modern ballad, some Joe Henderson, modal, some Herbie Hancock, a latin Silver tune, a bluesy gospely tune, a Parker tune, a Strayhorn standard, and a blues...

    Am I missing any?

    What is left? I am sure Ron will surprise us (Ron I totally put pressure on you to pick a good tune, don't disappoint!)

    For a while it was only my private lessons that got me excited to play guitar. These tunes are all invigorating to play.

    And we all have an arsenal of modern tunes to bring to our next in-person jam sesh.

  25. #24

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    Ronstuff: really fun take. I especially like the way you went salsa on the bridge. The bassist did some very cool stuff there, too.

    Ragman: nice stuff, your usual interesting little nooks and crannies.

    Jeff: great feel, really fun bouncingblues vibe all through. I especially liked the way you transitioned back to the last A of blues from the bridge.

    PickingMyEars: Some good moments, and great guitar tone, but it feels pretty disjointed to me. I'd love to hear more connection/flow/groove from you on the blues sections.

    John

  26. #25

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    Rushed and first time playing the tune, as usual. You're gonna kick me out for playing rock n roll. Time to prepare lunch! Hasta luego.

    Last edited by Peter C; 04-04-2021 at 01:03 PM.

  27. #26

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    Quote Originally Posted by mr. beaumont;[URL="tel:1111465"
    1111465[/URL]]Here we go, with some fuckups...feeling like I ain't played all week...which I haven't. I hate that feeling.

    Anyway, here we go.

    Killing Mr. B what’s happening at 1:16? I need to get more of that in my playing. We’re you just side stepping?

  28. #27

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    Were you just side stepping?
    He does that a lot, you know. You've got to watch him :-)

  29. #28

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    Quote Originally Posted by Peter C
    Rushed and first time playing the tune, as usual. You're gonna to kick me out for playing rock n roll. Time to prepare lunch! Hasta luego.

    If Chuck Berry and Wes Montgomery turned out to be best of friends, I think this is how Chuck Berry would have played Unit 7.

    I LOVE it because it sounds so different. I would never think to play this tune that way. Then again, T-Bone Walker sounds pretty jazzy and so does early BB King so...

    I'd never think to turn Billy Butler or a famous bluesy vocalese to fine tune my jazz blues playing--gotta keep broadening my horizon.

    I think Peter C's take is gonna get HEP on here to post his take of Unit 7.

    "Paging Mr. Hep"

  30. #29

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    John A's tone was silky and nice feel.

    Ragman's approach worked especially well for this tune, I thought.

    Ronstuff, nice take, always interesting.

    Jeff, swinging as usual.

    Thanks PickingMyEars. I actually have reservations about my take

    Frank Vignola and Jimmy Bruno I think play different chords in the swing blues turnaround in their duet. The ones in the YT backing track were somewhat awkward to negotiate (for me). Frankly, not a fan if they are correct.

  31. #30

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    Quote Originally Posted by ragman1
    He does that a lot, you know. You've got to watch him :-)
    I know you were kidding here, but that was definitely something I do a lot-- maybe too much.

    Often in bar 6 of a jazz blues theres either a iv or a #IVdim, so I'm just suggesting that here, even though it isn't there. I think I'm playing like an F7b9 lick actually.

    Sometimes I feel like the crux of jazz is to play lines for chords that aren't there and to blow through chords that are without addressing them.

  32. #31

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    Quote Originally Posted by mr. beaumont

    Sometimes I feel like the crux of jazz is to play lines for chords that aren't there and to blow through chords that are without addressing them.
    Just as in blues...

  33. #32

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    A7/Abmaj7/G7 (YT backing track) < chromatic line (3rds) could work here resolving to Cmaj7, but I didn't have time to explore it properly. It's the (abrupt) return to C7 from the Cmaj7 that had me scratching my head, trying to make the thing cohesive. Ultimately I just "blew" through those chords, in both senses of the word

    PS regarding blues, all the chords are there, surely?
    Last edited by Peter C; 04-04-2021 at 03:20 PM.

  34. #33

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    OK, so I took another crack at it with the Aebersold backing track (which I chopped down, because I don't want to play a seven-minute solo, and you don't want to hear me do that). Honestly, it's too fast for me and IMHO for the tune itself (and it speeds up as it goes along), so some of what I played here is kind of slurred and garbled, but it was a good workout. I was practicing it even faster in iReal a few days ago, and I can keep up at 220 +, but honestly, I don't like to. I'm a really a slower and medium tempo kind of guy especially, on blues. Next time my turn comes around, I'll call something less frenetic.



    PeterC: Another good one. To be brutally honest, I think the backing track is a little fast for what you were trying to do there, and those sort of jump-blues riffs would be cleaner and better sounding on a slower track. But the concept is right-on -- play in your style and make the tune yours.

    Hopefully some more people will post their versions.

    John

  35. #34

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    I thought my time was dragging until the last chorus. Maybe I'll redo it.
    Last edited by rpjazzguitar; 04-04-2021 at 04:50 PM.

  36. #35

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    Quote Originally Posted by rpjazzguitar
    Yeah, excellent take. I love the way you're in the pocket with it, and even iReal sounded like it had some groove going.

    John

  37. #36

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    John A, that second take was smokin'! If I heard that on a stream I'd definitely check out who was playing it. Nice hair on the tone, too. The "band" is another matter

    Yeah, everything's a rush for me, so I just grab whatever backing there's available. I'm a jazz-influenced prog-rocker with Brit blues beginnings, so I can't help but "do my own thing". LOL. I would also record differently because the phone picks up all the acoustic plinking. Anyway....

    rpjazzguitar, all the right notes!

  38. #37

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    I usually record a bunch of takes and pick the best one, but tonight I just have to settle for the final take. I don't think this was my best of the evening, but it'll have to do for now. Still feeling my way through the form at this tempo—I hope to post another take later in the week, because I think I can get this under my fingers better with more practice.


  39. #38

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    Quote Originally Posted by John A.
    Honestly, it's too fast for me and IMHO for the tune itself (and it speeds up as it goes along)

    John
    Thanks for confirming my suspicion: I have played along with that track and had the feeling that it became faster and faster...

  40. #39

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    Quote Originally Posted by John A.
    OK, so I took another crack at it with the Aebersold backing track (which I chopped down, because I don't want to play a seven-minute solo, and you don't want to hear me do that). Honestly, it's too fast for me and IMHO for the tune itself (and it speeds up as it goes along), so some of what I played here is kind of slurred and garbled, but it was a good workout. I was practicing it even faster in iReal a few days ago, and I can keep up at 220 +, but honestly, I don't like to. I'm a really a slower and medium tempo kind of guy especially, on blues. Next time my turn comes around, I'll call something less frenetic.



    PeterC: Another good one. To be brutally honest, I think the backing track is a little fast for what you were trying to do there, and those sort of jump-blues riffs would be cleaner and better sounding on a slower track. But the concept is right-on -- play in your style and make the tune yours.

    Hopefully some more people will post their versions.

    John
    That sounds great.

  41. #40

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    Quote Originally Posted by John A.
    OK, so I took another crack at it with the Aebersold backing track (which I chopped down, because I don't want to play a seven-minute solo, and you don't want to hear me do that). Honestly, it's too fast for me and IMHO for the tune itself (and it speeds up as it goes along), so some of what I played here is kind of slurred and garbled, but it was a good workout. I was practicing it even faster in iReal a few days ago, and I can keep up at 220 +, but honestly, I don't like to. I'm a really a slower and medium tempo kind of guy especially, on blues. Next time my turn comes around, I'll call something less frenetic.



    PeterC: Another good one. To be brutally honest, I think the backing track is a little fast for what you were trying to do there, and those sort of jump-blues riffs would be cleaner and better sounding on a slower track. But the concept is right-on -- play in your style and make the tune yours.

    Hopefully some more people will post their versions.

    John
    Just out of curiosity, I timed the Wes Montgomery version and it is something like 215-220. Which was odd because it didn't "feel" as fast as that. The Aebersold must be about 225-230?

  42. #41

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    Quote Originally Posted by John A.
    OK, so I took another crack at it with the Aebersold backing track (which I chopped down, because I don't want to play a seven-minute solo, and you don't want to hear me do that). Honestly, it's too fast for me and IMHO for the tune itself (and it speeds up as it goes along), so some of what I played here is kind of slurred and garbled, but it was a good workout. I was practicing it even faster in iReal a few days ago, and I can keep up at 220 +, but honestly, I don't like to. I'm a really a slower and medium tempo kind of guy especially, on blues. Next time my turn comes around, I'll call something less frenetic.



    PeterC: Another good one. To be brutally honest, I think the backing track is a little fast for what you were trying to do there, and those sort of jump-blues riffs would be cleaner and better sounding on a slower track. But the concept is right-on -- play in your style and make the tune yours.

    Hopefully some more people will post their versions.

    John
    That was a superb take. I really enjoyed it. Nothing useful I can say about it except that I thought it was splendid.

  43. #42

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    Quote Originally Posted by rpjazzguitar


    I thought my time was dragging until the last chorus. Maybe I'll redo it.
    Nice job! Some really interesting ideas on the blues sections.

  44. #43

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    Quote Originally Posted by lawson-stone
    Just out of curiosity, I timed the Wes Montgomery version and it is something like 215-220. Which was odd because it didn't "feel" as fast as that. The Aebersold must be about 225-230?
    I tried to "tap tempo" it in garage band to sync it with the metronome, but gave up. It started at around 214, but it moved around a bit, and then just kept speeding up. By the end, I would suspect something over 220. It also just feels kind of frantic because the bass and drum parts are pretty busy (especially the bass). Agreed, the Smokin' at the Half Note version doesn't feel crazy fast, I guess they're all so well locked with each other, and the playing is so clean. I mean these guys were just so friggin' good, consummate masters of tightness, groove, and having it together on their instruments. I tried slowing the Aebersold down a little, but it create a bunch of weird overtones and artifacts and it was hard to play with. I think my next move is iReal at around 180. The Cannonball versions are somewhere in that neighborhood (Mr. Sunnybass is a steady 185).

    John

  45. #44

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    Quote Originally Posted by John A.
    I tried to "tap tempo" it in garage band to sync it with the metronome, but gave up. It started at around 214, but it moved around a bit, and then just kept speeding up. By the end, I would suspect something over 220. It also just feels kind of frantic because the bass and drum parts pretty busy.

    John
    Maybe that's one advantage of the Aebersold tracks, you do in fact have a human band, with the attendant slips in time that characterize real musicians?

  46. #45

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    Quote Originally Posted by lawson-stone
    Maybe that's one advantage of the Aebersold tracks, you do in fact have a human band, with the attendant slips in time that characterize real musicians?

    Yes, I suppose so, and it also forces you to really listen to and adjust your own time (or should anyway). And thanks for the kind words.

    John

  47. #46

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    Quote Originally Posted by John A.;[URL="tel:1111682"
    1111682[/URL]]OK, so I took another crack at it with the Aebersold backing track (which I chopped down, because I don't want to play a seven-minute solo, and you don't want to hear me do that). Honestly, it's too fast for me and IMHO for the tune itself (and it speeds up as it goes along), so some of what I played here is kind of slurred and garbled, but it was a good workout. I was practicing it even faster in iReal a few days ago, and I can keep up at 220 +, but honestly, I don't like to. I'm a really a slower and medium tempo kind of guy especially, on blues. Next time my turn comes around, I'll call something less frenetic.



    PeterC: Another good one. To be brutally honest, I think the backing track is a little fast for what you were trying to do there, and those sort of jump-blues riffs would be cleaner and better sounding on a slower track. But the concept is right-on -- play in your style and make the tune yours.

    Hopefully some more people will post their versions.

    John
    Dude, cookin!!

  48. #47

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    Quote Originally Posted by John A.
    It also just feels kind of frantic because the bass and drum parts are pretty busy (especially the bass).

    John
    Absolutely agreed - tough to play along with the track when it almost sounds like everybody is taking a solo at the same time.

    I slowed down the Aebersold backing by 20% - still too fast for me but let's see if I can get away with this:






    ETA: I think I haven't mentioned that I enjoyed everybody's contributions very much!

    And: may be heresy but I prefer the versions by Cannonball Adderley as well...

  49. #48

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    Quote Originally Posted by TOMMO
    Absolutely agreed - tough to play along with the track when it almost sounds like everybody is taking a solo at the same time.

    I slowed down the Aebersold backing by 20% - still too fast for me but let's see if I can get away with this:






    ETA: I think I haven't mentioned that I enjoyed everybody's contributions very much!

    And: may be heresy but I prefer the versions by Cannonball Adderley as well...
    I kept thinking, "This is how Herb Ellis would have played 'Unit 7'!" which is a very high compliment! More earthy than urban, more local bar than 52nd Street.

  50. #49

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    Quote Originally Posted by lawson-stone
    I kept thinking, "This is how Herb Ellis would have played 'Unit 7'!" which is a very high compliment! More earthy than urban, more local bar than 52nd Street.
    Wow! Thank you lawson! A high compliment indeed - I love Herb Ellis!

  51. #50

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    Quote Originally Posted by TOMMO
    Absolutely agreed - tough to play along with the track when it almost sounds like everybody is taking a solo at the same time.

    I slowed down the Aebersold backing by 20% - still too fast for me but let's see if I can get away with this:






    ETA: I think I haven't mentioned that I enjoyed everybody's contributions very much!

    And: may be heresy but I prefer the versions by Cannonball Adderley as well...
    Sounds good, Tommo. I like that tempo, but I think the audio of the backing track sounds weird slowed down (at least it did when I slowed it down in GarageBand).

    John