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  1. #26

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    John, nice take! That snappy tone seems to inspire you to sit back in the beat a bit, and that's a feel I love.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    What a beautiful tune. Has everything in it that makes jazz what it is. Call and response, motivic development, swing, great lines and what not. Still learning the melody. This is one of those that can make me happy just to play the head/melody.

  4. #28

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    Quote Originally Posted by Ronstuff;[URL="tel:1116390"
    1116390[/URL]]
    I did get to plug a couple altered type lines I've been working on.
    Sounds great! Where did you find the best areas to drop altered lines in? There doesn’t seem a lot of typical II-V(alt)-I spots that are obvious to me.

    BTW
    Ragman, 350 pounds of more lovin’

  5. #29

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    Quote Originally Posted by Triple_Jazz
    350 pounds of more lovin’
    JGBE Virtual Jam (Round 15) - Along Came Betty-images3-jpg

  6. #30

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  7. #31

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    Quote Originally Posted by Triple_Jazz
    Sounds great! Where did you find the best areas to drop altered lines in? There doesn’t seem a lot of typical II-V(alt)-I spots that are obvious to me.

    BTW
    Ragman, 350 pounds of more lovin’
    Without getting too deep into this(and you probably know anyway), there's the concept that most dominant chords can be played with altered notes played over them. Especially playing in duo with a bass player, it's wide open.
    I relistened and I really don't do that much of this afterall. But I did it on the last chords of the A and B sections at certain points.
    But all the min II-V's are great for this and there are quite a few of them.
    The one thing I did more of is self-comping. When I first heard Lenny Breau, I flipped out over how great he was at doing it.
    When playing without comping I like to get some of that going! Kurt Rosenwinkel is also a master at it, and well a bunch of other players really.

    Like Jeff mentioned it's fun playing with a really solid bass player, it opens up the territory for trying stuff. I do that much more when I know the tune well enough, which isn't the case with Along Came Betty!

  8. #32

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    Here's mine. I tried to use the Aebersold backing, but the piano was horribly sharp, I got fed up tuning my guitar up to it! So I used BIAB instead and went for a samba feel (probably as a result of listening to Sheryl Bailey and Pat Martino!).


  9. #33

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    Quote Originally Posted by grahambop
    Here's mine. I tried to use the Aebersold backing, but the piano was horribly sharp, I got fed up tuning my guitar up to it! So I used BIAB instead and went for a samba feel (probably as a result of listening to Sheryl Bailey and Pat Martino!).

    One of things I admire about this (and your other clips) is the precision of the placement of each note, adding up to great time feel.

  10. #34

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    Quote Originally Posted by rpjazzguitar
    One of things I admire about this (and your other clips) is the precision of the placement of each note, adding up to great time feel.
    Thanks RP. That’s definitely something I’ve tried to work on, ever since I was appalled to hear how sloppy my time was when I first started recording! I think you just have to try and develop a sense of good time internally somehow, and be able to hear and know immediately when your time is drifting. I’ve done the occasional bit of metronome practice, that probably helps too.

    I think it’s a bit easier to stay in time on these ‘straight-eighths’ type things than on swing, at least I find it so.

  11. #35

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    Quote Originally Posted by grahambop
    Here's mine. I tried to use the Aebersold backing, but the piano was horribly sharp, I got fed up tuning my guitar up to it! So I used BIAB instead and went for a samba feel (probably as a result of listening to Sheryl Bailey and Pat Martino!).


    YEAH! Feeling it.

    There was some rhythmic stuff followed by a super long line on your last A the first time through that absolutely floored me. That's how I wanna play when I grow up.

  12. #36

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    Thanks Jeff! Trying to figure out what I did there...I think it was some kind of ascending Dbm arp figure in 2 octaves (over the Bbmin7b5 chord) then some kind of bebop chromatic run down and diminished thing on the Eb7.

    The arp thing probably came out of a Pat Martino linear expressions line, I learned a couple of those once.

    I should probably learn some more of them!

  13. #37

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    Quote Originally Posted by grahambop
    Here's mine. I tried to use the Aebersold backing, but the piano was horribly sharp, I got fed up tuning my guitar up to it! So I used BIAB instead and went for a samba feel (probably as a result of listening to Sheryl Bailey and Pat Martino!).

    Great job grahambop!
    Wonderful playing as usual and great tone.
    Always enjoy your videos.

  14. #38

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    Thanks MtnCat.

  15. #39

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    This from the guy Bernstein was playing with on that other impressive vid.


  16. #40

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    Okay, it's Thursday, so last blast on this. Tune at the end.


  17. #41

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    Quote Originally Posted by ragman1
    Okay, it's Thursday, so last blast on this. Tune at the end.

    Cool stuff, I heard like a Beatles motif in there. That Joachim clip above was killer!

  18. #42

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    Beatles motif
    Really, where? Don't ask me, I've no idea!

  19. #43

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    So I was posting on Tune up... figured I should post Vid of Miss Betty.
    Just did it... just recorded backing tract and played one time through... sorry, it's loose. But that's how it is in real world at gigs.

    At gigs you would at least have interaction and we would listen and adjust as we want. yada yada