Reply to Thread Bookmark Thread
Page 1 of 3 123 LastLast
Posts 1 to 50 of 120
  1. #1

    User Info Menu

    Ronstuff's pick this week, and its an excellent one.

    JGBE Virtual Jam (Round 13) - In Your Own Sweet Way-1617905041082-jpg

    Notes from Ron:

    I got into this tune from a version I heard a long time ago with Mick Goodrick And Jerry Bergonzi on Mick's album Sunscreams.I actually checked out the Brubeck and Miles versions a little later.
    Fun fact I read this week about the tune: In the liner notes to Time Signatures Brubeck wrote, "For the first few years the quartet played almost all standards, until one day Paul Desmond said to me, 'We've got to hire somebody to write some material for us.' I said, 'Paul, are you kidding? I'll write two tunes in half an hour!' I wrote 'In Your Own Sweet Way' and 'The Waltz' that night. From then on we started doing my material a lot more."
    I like how the tune moves through different keys, and the vamp section really opens it up.

    Note from me: The iReal changes for this BLOW.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2

    User Info Menu

    So I'll get the jam going with a version!
    With my bass player buddy, I've been lucky to hook up with him.

    I agree with Jeff there are some weird chords on the Ireal pro app.


    Miles really influenced the way a lot of people play this tune, like going to the E natural(#11) at the end of the A section.
    And the bridge, where some people do the first 2-5-1 to Dm, or do them both to Dm.
    In jam sessions I've been to, most people do those 2-5-1's to Dmaj.

    And the last 4 bars of the bridge. I play |Dmi7 G7|Emi7 A7|Ebmi7 Ab7| G7 |
    But I've heard many musicians discuss this part of the tune...

    I play the last two bars of the A section |Cmi7(b5) F7(b9)| Bbmaj7 |
    Sometimes I'll do the (#11) thing on the Bbmaj7.
    Anyways, I don't want to go too deep into discussing changes, it can become a sensitive issue

    I've been in Telecaster mode for the last two weeks. A Partscaster I put together last september with an aged pine body that I finished myself with oil. The neck is a used Warmoth. Neck pickup is a Benedetto A6 I also found on the used market and a Dimarzio Area hot T Bridge pickup.

    I'm recording an album in a month and am still not sure whether I'm using my Archtop, Semi-Hollowbody or Telecaster.
    They all do the job really well...

    Last edited by Ronstuff; 04-08-2021 at 04:44 PM.

  4. #3

    User Info Menu

    Awesome tune, awesome pick! Look forward to working on this. I remember hearing a version with Paul Desmond playing the head but my search on Amazon music is only pulling the solo Dave and trio Dave versions. Anyone know the Desmond track I’m referring to?

  5. #4

    User Info Menu

    Quote Originally Posted by Ronstuff
    So I'll get the jam going with a version!
    With my bass player buddy, I've been lucky to hook up with him.

    I agree with Jeff there are some weird chords on the Ireal pro app.


    Miles really influenced the way a lot of people play this tune, like going to the E natural(#11) at the end of the A section.
    And the bridge, where some people do the first 2-5-1 to Dm, or do them both to Dm.
    In jam sessions, most people do those 2-5-1's to Dmaj.

    And the last 4 bars of the bridge. I play |Dmi7 G7|Emi7 A7|Ebmi7 Ab7| G7 |
    But I've heard many musicians discuss this part of the tune...

    I play the last two bars of the A section |Cmi7(b5) F7(b9)| Bbmaj7 |
    Sometimes I'll do the (#11) thing on the Bbmaj7.
    Anyways, I don't want to go too deep into discussing changes, it's can becomes a sensitive issue

    I've been in Telecaster mode for the last two weeks. A Partscaster I put together last september with an aged pine body that I finished myself with oil. The neck is a used Warmoth I picked up. Neck pickup is a Benedetto A6 I also found on the used market and a Dimarzio Area hot T Bridge pickup.

    I'm recording an album in a month and am still not sure whether I'm using my Archtop, Semi-Hollowbody or Telecaster.
    They all do the job really well...

    Excellent! I was actually going to call this next time my turn rolled around.

    Here's one of my fave's



    John

  6. #5

    User Info Menu

    Here's the Link to the Mick Goodrick/Jerry Bergonzi version I was talking about.
    It's the 1st tune of the album. Reminds me of my early years when I was getting into jazz...Music and nostalgia...
    And that album cover, the colors around it on You Tube mess it up, but that picture speaks to me!
    I still dig the recording today, even though I'm not usually a fan of guitar with Chorus.
    I don't mind it as much when it's Mick or John Abercrombie!
    Mick has some nice intervallic/rhythmic things going on.
    And Jerry Bergonzi is just great!

    Last edited by Ronstuff; 04-08-2021 at 05:45 PM.

  7. #6

    User Info Menu

    Here's a version by sometimes member here Paul Kogut. I love the way he plays this tune.




    Ron, loved your take, particularly your "self comping." And the tele sounds great!

  8. #7

    User Info Menu

    Quote Originally Posted by John A.
    Excellent! I was actually going to call this next time my turn rolled around.

    Here's one of my fave's



    John
    Yeah John, like minds once again! I really like Steve Masakowski and that version, he can play modern ideas and still really swing!
    I spent a week in New Orleans a couple years ago and my only dissapointment was not seeing him live.

  9. #8

    User Info Menu

    Here's an alternate take that I'm posting just to let you guys hear the bass solo. He's so melodic!
    My feel is better on this despite a few rough spots, I could have only posted this one.
    Now I'm getting off the stage, and out of the way!

    Last edited by Ronstuff; 04-08-2021 at 05:20 PM.

  10. #9

    User Info Menu

    Quote Originally Posted by Ronstuff
    Here's an alternate take that I'm posting just to let you guys hear the bass solo. He's so melodic!
    My feel is better on this despite a few rough spots, I could have only posted this one.
    Now I'm getting off the stage, and out of the way!

    Great stuff. I’m really digging how that Tele sounds.

  11. #10

    User Info Menu

    Quote Originally Posted by Ronstuff
    Here's an alternate take that I'm posting just to let you guys hear the bass solo. He's so melodic!
    My feel is better on this despite a few rough spots, I could have only posted this one.
    Now I'm getting off the stage, and out of the way!

    Man, I thought your feel was great in both, but this sure is a great take. And you're right, bass player is excellent.

    I'm gonna post a "first impression" here and definitely try to work more on it. Ron mentioned John Abercrombie so I went thumb, light distortion, and a little chorus.


  12. #11

    User Info Menu

    Quote Originally Posted by Ronstuff;[URL="tel:1112879"
    1112879[/URL]]So I'll get the jam going
    Very nice playing! I’ll have to check my preferred changes with the different arrangements you’ve mentioned. I have the A6 humbucker in my Monarch and it really opened that guitar up. Are you using an octave pedal just slightly peppered in?

  13. #12

    User Info Menu

    Only working on it a day so far, but another great pick. Ronstuff--you didn't disappoint

    Next week we are phasing in our in person instruction on a larger scale. Looking forward to seeing the kids. Not looking forward to the madness of hybrid learning, but I guess it's my turn Dunno if I will have time to play music. Not good. Music is my yoga...

    Last edited by PickingMyEars; 04-08-2021 at 09:33 PM.

  14. #13

    User Info Menu

    Coming up bust trying to locate a chart—any suggestions on where to look?

  15. #14

    User Info Menu

    Quote Originally Posted by wzpgsr
    Coming up bust trying to locate a chart—any suggestions on where to look?
    Standards PDF Viewer - Learn Jazz Standards - The Ultimate Jazz Resource

    That's what I used. Seemed useable.

  16. #15

    User Info Menu

    Quote Originally Posted by Triple_Jazz
    Very nice playing! I’ll have to check my preferred changes with the different arrangements you’ve mentioned. I have the A6 humbucker in my Monarch and it really opened that guitar up. Are you using an octave pedal just slightly peppered in?
    Thanks, yes the A6 is a very nice and unique pickup! Good ears, I am using an octave pedal mixed in very low!
    Last edited by Ronstuff; 04-08-2021 at 10:16 PM.

  17. #16

    User Info Menu

    Quote Originally Posted by mr. beaumont
    Man, I thought your feel was great in both, but this sure is a great take. And you're right, bass player is excellent.

    I'm gonna post a "first impression" here and definitely try to work more on it. Ron mentioned John Abercrombie so I went thumb, light distortion, and a little chorus.

    Nice one! I like the Abercrombie vibe. You always have a nice bounce in your feel, it's addictive! And there's an exploratory element going on that's fun, doesn't sound like you're playing safe! Nice to be along for the ride.

  18. #17

    User Info Menu

    Another tune I've been playing for a long time, but have never felt fully on top of. But it's beautiful tune and I always enjoy the challenge. Here's mine, again with Mr. Sunnybass. I wasn't intending to be so sparse and motivic (or to quote Hello Muddah, Hello Faddah ...), but sometimes that's the way it comes out.



    John
    Last edited by John A.; 04-09-2021 at 02:09 AM.

  19. #18

    User Info Menu

    I really like Ronstuff and John A.’s approach, this tune sounds good with that guitar and bass sound (i.e. no piano), gives it some space.

    Emily Remler did a nice version with guitar, bass and drums. I might try a similar approach too.

    I have one question about Ronstuff’s take though - who is the guy in the big hat, riding a unicorn?

  20. #19

    User Info Menu

    Quote Originally Posted by grahambop
    I really like Ronstuff and John A.’s approach, this tune sounds good with that guitar and bass sound (i.e. no piano), gives it some space.

    Emily Remler did a nice version with guitar, bass and drums. I might try a similar approach too.

    I have one question about Ronstuff’s take though - who is the guy in the big hat, riding a unicorn?
    Yeah that backgroud is quite funky! My wife has a theater company, I borrow her rehearsal space. I'll try to remember to take a picture from the front window, it's a neat setup! I will listen to Emily Remler's version, I always like her playing and sound.

  21. #20

    User Info Menu

    Not difficult.


  22. #21

    User Info Menu

    Quote Originally Posted by Ronstuff
    Yeah that backgroud is quite funky! My wife has a theater company, I borrow her rehearsal space. I'll try to remember to take a picture from the front window, it's a neat setup! I will listen to Emily Remler's version, I always like her playing and sound.
    ok I see. The ability to include theatrical props in one’s videos opens up some interesting possibilities!

  23. #22

    User Info Menu

    Quote Originally Posted by John A.;[URL="tel:1112984"
    1112984[/URL]]Another tune I've been playing for a long time, but have never felt fully on top of. But it's beautiful tune and I always enjoy the challenge. Here's mine, again with Mr. Sunnybass. I wasn't intending to be so sparse and motivic (or to quote Hello Muddah, Hello Faddah ...), but sometimes that's the way it comes out.



    John
    Really fantastic John! Would you mind sharing what your doing at 1:14? Those chord hits were perfect and beautiful.

  24. #23

    User Info Menu

    Quote Originally Posted by Triple_Jazz
    Really fantastic John! Would you mind sharing what your doing at 1:14? Those chord hits were perfect and beautiful.
    Thanks! OK so at 1:14, the voicing I play is x66676, which I then slide up 2 frets. I tend to think of this as "stack of 4ths with a 3rd on top" or the "So What/Impressions chord" rather than as a chord name per se. I use it a lot (with or without that last 3rd), and think of it as sort of a general purpose harmonization of the second to highest note i.e., the last 4th, in this case Gb. In this context, you can think of it as an Ab11 with an E in the bass, and when slid up two frets it's Ab7b13 with the b13 (F) in the bass. [Edited: Or more obviously as an Ebmin11 to Fmin11. I've seen charts for the interlude written as either an Ab7 vamp or an Ebmin vamp. To me, they're the same thing]

    John
    Last edited by John A.; 04-09-2021 at 12:07 PM.

  25. #24

    User Info Menu

    Quote Originally Posted by wzpgsr
    Coming up bust trying to locate a chart—any suggestions on where to look?
    It's in both the Real Book and iReal

    Here are the iReal changes:

    JGBE Virtual Jam (Round 13) - In Your Own Sweet Way-your-own-sweet-way-jpg


    I play the last 4 bars of the B section as |D-7 G7|CM7|Eb- Ab7|D-7 G7| [edited: Per the Real Book changes. I couldn't remember whether that was where I picked this up from until Graham posted them below.]


    John
    Last edited by John A.; 04-09-2021 at 10:58 AM.

  26. #25

    User Info Menu

    Here’s the old real book chart.

    JGBE Virtual Jam (Round 13) - In Your Own Sweet Way-c5d636ac-6d40-4b36-9705-c82f48b956a7-jpeg

  27. #26

    User Info Menu

    Beautiful tune! (And slow enough for me to give it a try LOL!) Listening to a couple of different versions right now to get the tune in my head which should be easy since it's a real earworm.

  28. #27

    User Info Menu

    iReal assumes that the tune is in Eb.

    Every other chart says Bb. I know key signatures are an after thought in some charts, but especially for the actual song and melody--the key of the tune matters.

    Hearing the tune in Bb and hearing it in Eb result in hearing two very different songs. It's like saying that Just Friends is in C when it's actually in G.

    Anyway, loving what we are all doing with this standard.

    Once again, Wes haunts us with his greatness:



    (wish that got remastered )

    I've been really digging into Pat Martino's playing on this tune:



    (great album)

    I can't find it on Youtube, but Barry Galbraith wrote an interesting etude over the changes to In Your Own Sweet Way. On his Jazz Guitar Study Series #5: Guitar Improv. Worth a listen!

  29. #28

    User Info Menu

    Quote Originally Posted by PickingMyEars
    iReal assumes that the tune is in Eb.

    Every other chart says Bb. I know key signatures are an after thought in some charts, but especially for the actual song and melody--the key of the tune matters.

    Hearing the tune in Bb and hearing it in Eb result in hearing two very different songs. It's like saying that Just Friends is in C when it's actually in G.

    Anyway, loving what we are all doing with this standard.

    Once again, Wes haunts us with his greatness:



    (wish that got remastered )

    I've been really digging into Pat Martino's playing on this tune:



    (great album)

    I can't find it on Youtube, but Barry Galbraith wrote an interesting etude over the changes to In Your Own Sweet Way. On his Jazz Guitar Study Series #5: Guitar Improv. Worth a listen!
    I never even noticed that iReal has it in Eb. In any event, I feel like this is one where you have to make the changes and can't just hover in a key. It resolves (twice) to Bb, but it doesn't spend a lot of time there.

    John

  30. #29

    User Info Menu

    Key centers aren't important for hovering over a key, unless it's modal.

    Key centers are important for hearing how the harmony resolves. We aren't playing changes, we are playing a tune. A key center establishes a tonal gravity that informs the melody of the tune and the improvised melody on top. The chords work the way they do because of the key signature.

    There are certain parts of a chart I can over look. Fudging up the key center ain't one of them.

    That is a frustration about iReal and fake book inaccuracies. You didn't write that chart, did you John A? If so, my apologies. If not, I'll just be pissed at whoever wrote that chart and overlooked the second most important part (since the melody isn't ever written in iReal).

    All theory talk goes out the window the second you take key center for granted... which might be a good thing. That said, the key center is the glue that holds the tune together. That's the most important piece of theory that I ever learned.

  31. #30

    User Info Menu

    Quote Originally Posted by grahambop
    I really like Ronstuff and John A.’s approach, this tune sounds good with that guitar and bass sound (i.e. no piano), gives it some space.

    Emily Remler did a nice version with guitar, bass and drums. I might try a similar approach too.

    I have one question about Ronstuff’s take though - who is the guy in the big hat, riding a unicorn?
    I often go piano-less. Most of the backing tracks have piano parts that are way too busy/intrusive for me. I find they get in the way of harmonizing myself and/or box me in melodically, and I wind up playing virtually the same thing over and over again. I find them helpful for learning tunes (when I'm really trying to stay very explicitly on the changes), but frustrating as accompaniment for any more "real" playing.

    John

  32. #31

    User Info Menu

    I've been messing a bit with just playing key centers on the A...I'm going to post an experiment later today.

    I love the melody, but the chords on this one make me feel a bit claustrophobic. This has freed me up a bit to make melody instead of chasing changes like I feel I'm doing in my first take. We'll see.

    Probably, the "correct" answer is going to end up being the same it always is...get the tune to where you can nail every change in your sleep...and then stop doing that

  33. #32

    User Info Menu

    Quote Originally Posted by PickingMyEars
    Key centers aren't important for hovering over a key, unless it's modal.

    Key centers are important for hearing how the harmony resolves. We aren't playing changes, we are playing a tune. A key center establishes a tonal gravity that informs the melody of the tune and the improvised melody on top. The chords work the way they do because of the key signature.

    There are certain parts of a chart I can over look. Fudging up the key center ain't one of them.

    That is a frustration about iReal and fake book inaccuracies. You didn't write that chart, did you John A? If so, my apologies. If not, I'll just be pissed at whoever wrote that chart and overlooked the second most important part (since the melody isn't ever written in iReal).

    All theory talk goes out the window the second you take key center for granted... which might be a good thing. That said, the key center is the glue that holds the tune together. That's the most important piece of theory that I ever learned.
    I didn't write that chart. It's just whatever is in the crowd-sourced collection that I downloaded from the iReal forum (or more accurately, in this case copied and pasted from an image of that I found online). So no offence taken, and feel free to be pissed at whomever you like.

    I'm mostly useless in theory discussions. I mean I do understand a decent amount, and do a degree of analysis to figure tunes out (especially if my ear is not really catching what's going on), but I don't dwell on it. Learn it, play it, move on from the thinking part ASAP. When playing with others, listen to what they're doing as a cue to the harmony, rather than think about the harmony. I take key signatures in fakebook style charts as a starting point, and pay more attention to form, where the cadences are (as indicators of key and modulations), and what the melody sounds like. To your point about playing the tune rather than the changes, yes, of course. But playing the tune (beyond the head) means playing melodic ideas that fit the changes, and comping in a way that conveys them to and complements the rest of the band. So a big part of the job of learning and understanding a tune is internalizing and playing the changes in the abstract, nut just as harmonization of the head.

    OK, so onward to what I've heard so far:

    Ron: great jams with your bassist buddy. I hear the Masakowski (and Miles) influence there, but with your own sense of phrasing and rhythm.

    Jeff: cool approach on all bases. Good melodic ideas, nice Abercrombie tribute tone-wise, and you get around really well with just the thumb.

    IcePickinEarDrum: I like what you're doing here. Per our conversation, I get a better sense of connectedness and flow out of this. But it sure would be nice to hear some longer 1/8 note lines (and, god forbid some 1/16 notes).

    Edited to add ... Rags: Sorry, didn't mean to leave you out. Another good one. I like the way you throw in outside notes to spice it up.

    And interesting, no one has cited a Brubek version. This one is really great IMO. His approach strikes as very different form what any of us (or Miles, or anybody else does). He strikes me as much more in the mode of Art Tatum style theme/variations and reharmonization than blowing over changes.



    OK, I'll (try to) shut up now.

    John
    Last edited by John A.; 04-09-2021 at 01:49 PM.

  34. #33

    User Info Menu

    This tune moves around a lot. Pretty much in 2 bar phrases.

    Begins with a 3625 in F. (maybe .. that 3 might be a iiim7b5)

    Then, a ii V in Bb, except in my chart it lands on Bb7 to Ebmaj7. I don't care for the Ab in the Bb7, so I play it as a major, not dominant. So, am I playing a Bb6 or an Ebmaj9? This question is answered by the bassist.

    Then there's another ii V I IV, this time in Gb, followed by a #V7 to V7 to I in Eb.

    So, to the extent that I hear resolution, it's to Eb.

    But, it doesn't matter to me whether it's Eb or Bb. They differ by one note, A vs Ab, and I can pick the other one if I play the wrong one first.

  35. #34

    User Info Menu

    Got to do more listening:

    John, once you hit your stride, man, that was good. Great lines, excellent tone...you sound "comfortable," but in a good way. I liked the "motific" stuff, a lot.

    Rag, A nice easy swinger there. I would challenge you to be more "energetic," but why work against what you do well?

    Picking, one of my favorites from you...your ideas seem more put together here, like maybe you're hearing ahead a little further? Also, the best balance in your recording yet.

  36. #35

    User Info Menu

    Quote Originally Posted by mr. beaumont

    Rag, A nice easy swinger there. I would challenge you to be more "energetic,"
    I'm working up to it :-)

    (Give me an acceptable tempo. I'll do it)

    (edit)

    Too fast? I think maybe.

    Last edited by ragman1; 04-09-2021 at 03:52 PM.

  37. #36

    User Info Menu

    Quote Originally Posted by Triple_Jazz
    Awesome tune, awesome pick! Look forward to working on this. I remember hearing a version with Paul Desmond playing the head but my search on Amazon music is only pulling the solo Dave and trio Dave versions. Anyone know the Desmond track I’m referring to?
    Not really but I did find this version on which Desmond plays:


  38. #37

    User Info Menu

    Interesting that Brubeck does not seem to play that 8-bar intro/interlude that everyone else does. Wonder who did that first?

  39. #38

    User Info Menu

    Quote Originally Posted by grahambop
    Interesting that Brubeck does not seem to play that 8-bar intro/interlude that everyone else does. Wonder who did that first?
    Miles did it first. He also changed the last note of the A section from F to E, which was pretty widely adopted. Wes splits it down the middle -- interlude as intro and outro to the tune, but not between choruses; E instead of F in the melody (which he alters in other ways as well)

    John

  40. #39

    User Info Menu

    Yes I thought it might be Miles, everyone tended to follow whatever he did to a tune!

  41. #40

    User Info Menu

    Quote Originally Posted by ragman1
    I'm working up to it :-)

    (Give me an acceptable tempo. I'll do it)

    (edit)

    Too fast? I think maybe.

    Not at all, though I didn't mean faster, necessarily. But this is definitely crisper in your lines. I like it.

  42. #41

    User Info Menu

    So here's a take where I'm trying my best to just stick to key centers...I don't hate it.
    Let me know what you think...


  43. #42

    User Info Menu

    Quote Originally Posted by mr. beaumont
    So here's a take where I'm trying my best to just stick to key centers...I don't hate it.
    Let me know what you think...

    That was good. I liked how deliberate and lyrical your solo started out, like you were feeling your way into the tune. Also thought I heard some Jerry Garcia in there a couple of times.

  44. #43

    User Info Menu

    Quote Originally Posted by mr. beaumont
    So here's a take where I'm trying my best to just stick to key centers...I don't hate it.
    Let me know what you think...

    Interesting. It came out straighter/less swingtime than your first one. I thought the overall effect was to bring out your inner Jerry and make it seem a little less jazzy and more jam-bandy. Maybe because focusing on (major) key centers keeps you away from altered dominants and the triplet-based figures that would make it more boppish? Anyway, sounds cool, and stay away from the brown acid.

    John

  45. #44

    User Info Menu

    John, pretty much my thoughts exactly.

    I gotta try, at some point, to combine these "two me's" cuz that's the real me...doctor...

  46. #45

    User Info Menu

    Quote Originally Posted by mr. beaumont
    So here's a take where I'm trying my best to just stick to key centers...I don't hate it.
    Let me know what you think...

    First of all, I like the experiment side to this take!
    It was less swinging, but compensated with nice melodic content and great use of space. I heard a bit of Frisell'ishness. Sorry to always compare to another player...Like John said, I guess the key center thing takes us away from the tension/release of resolving dominant chords. Smart!
    Maybe had a bit of that 'guitar player' playing over changes cliché. I dig it though, I'm a guitar player! Like some fusion players when they play standards, it's creative and different but not implying all the changes.
    This reminds of when I was younger, I was quite lucky to get a lesson with the great Pat Metheny. He really stressed the importance of being able to imply the harmony in a solo, even without accompaniment.
    At the time,I was trying to figure out how to play through changes. It seemed so elusive, the information wasn't that easy to get. Now there's a ton of videos on You Tube that explain very well how to learn this, but in the early 90's much less. Still a lot of scales and modes. I Guess that's why today, there's so many great young players!
    Well after that lesson,and the exercices he gave me, I became obsessed with making the changes(all of them!) for many years. I have had to practice to actually let some go by...Find the right balance.
    So way too many words to say that I really like what you did on this one!
    Last edited by Ronstuff; 04-10-2021 at 08:30 AM.

  47. #46

    User Info Menu

    Quote Originally Posted by mr. beaumont
    John, pretty much my thoughts exactly.

    I gotta try, at some point, to combine these "two me's" cuz that's the real me...doctor...
    Yeah, been working on that.

    John

  48. #47

    User Info Menu

    Quote Originally Posted by mr. beaumont
    So here's a take where I'm trying my best to just stick to key centers...I don't hate it.
    Let me know what you think...

    Very melodious in a kind of "mysterious" way if that makes sense - keeps one's ears cocked!

  49. #48

    User Info Menu

    Quote Originally Posted by mr. beaumont;[URL="tel:1113176"
    1113176[/URL]]So here's a take where I'm trying my best to just stick to key centers...I don't hate it.
    Let me know what you think...

    I don’t disagree with the other assessments. I will say that I think key center focus and the way you approached this is exactly what spawns smooth jazz. It makes complex harmony digestible. Nice to listen to in certain environments but makes one long for the good stuff after a few listens.

    In case I need the disclaimer *your cut was wonderful and I can’t dream to play so smooth!

  50. #49

    User Info Menu

    Ronstuff, you certainly seem to know your way around this tune. Nicely played. Regarding whether you should use your Archtop, Semi-Hollowbody or Telecaster for recording: yes.

    Jeff, always a great rhythmic feel, with or without effects. The second clip you posted had a lot of "character" and would stand out at a jam.

    John A, just a tad too "sparse" sounding for my ears but nice tone, as usual.

    I'm personally going to restrict my posting to tunes that either I know (which is a total of one so far: So What) or that I can suss out in 1-2 hours and play something acceptable (to me) over. I'm still working on solos for stuff I composed over 5 years ago! LOL. A bit slow, you could say.

    Keep up the good work, people.

  51. #50

    User Info Menu

    Everybody hanging in there? Was a quiet weekend...