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  1. #1

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    Peter C has picked one of the all time great vibe/groove tunes this week.

    JGBE Virtual Jam (Round 16) - Cantaloupe Island-1619701919251-jpg

    A classic example of a modal tune which on paper is "easy," but there's lots of both possibilities and "handle with care" moments in this one. FUN STUFF. Everybody better jump in on this one.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    This was an old fav at jams in and around Barcelona when I lived there back in the 80s and 90s and an ideal vehicle for people to jump in and out, go for a beer, then jump back in (unless they were a bass player or a drummer).

    Depending on how you feel, (or the influence of beer), you can basically blow a Fm blues over this (carefully choosing your notes, paying attention to the b5 over Db7, etc.)* OR, you can go as outside as you wish. I'll probably try to do something in-between when I get some time at the weekend.

    *I actually don't remember how I treat the (supposed) Dm7 - the lick in the head is still Fm blues and AFAIR a straightforward D dorian may not be the best option. YMMV.

    Have fun. Cheers!
    Last edited by Peter C; 04-29-2021 at 07:13 PM.

  4. #3

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    Well, I had a little time between work and making dinner, so here goes nothing...

    I haven't played this song is AGES! Forgot how fun it was.


  5. #4

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    Pretty slick Jeff, that lick at 1:37 was downright gnarly!

  6. #5

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    ... gone for a beer...

  7. #6

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    Good call, Peter - love this tune.

    Great mix between modal playing and classic blues licks, Jeff!

  8. #7

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    Decided to go weird on this one... Also, my son was undeterred by my sideways glances and walked into the shot to putter around in the kitchen. So I turned him into a blob, which enhanced the weirdness.

    Last edited by John A.; 04-30-2021 at 08:28 AM.

  9. #8

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    Quote Originally Posted by John A.
    Decided to go weird on this one... Also, my son was undeterred by my sideways glances and walked into the shot to putter around in the kitchen. So I turned him into a blob, which enhanced the weirdness.

    Wild ride! Getting a definite Larry Carlton vibe here, which is pretty much always good in my book. Great tone, energy, sick lines...enjoyed this very much.

  10. #9

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    Quote Originally Posted by mr. beaumont
    Getting a definite Larry Carlton vibe
    My thought as well. Not my favorite style but well done, John.

  11. #10

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    Quote Originally Posted by mr. beaumont
    Well, I had a little time between work and making dinner, so here goes nothing...

    I haven't played this song is AGES! Forgot how fun it was.

    Yeah! Nice and greasy, just how I like it.

    I was hoping to get more of a Scott Henderson/Jeff Beck vibe, but I can't actually play like that, so I'll take Carlton if I can get it.

  12. #11

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    John -

    So does your son reckon you're one cool daddy?

  13. #12

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    Quote Originally Posted by ragman1
    John -

    So does your son reckon you're one cool daddy?
    If bemusement and eye-rolling signify that (he's 15), then yes.

  14. #13

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    Alright: a quick and dirty one:



  15. #14

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    And just because it's fun:



  16. #15

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    This needs sixteenth and triplet runs but, since I'm limited, you'll have to make do with alternate notes, not too crazy.


  17. #16

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    Nice melodies, ragman!

  18. #17

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    Quote Originally Posted by TOMMO;[URL="tel:1118281"
    1118281[/URL]]Alright: a quick and dirty one:


    I really like your feel on this one, nice job

  19. #18

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    Quote Originally Posted by Triple_Jazz
    I really like your feel on this one, nice job
    Thank you!

  20. #19

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    Cantaloupe Island

    Sco Mode


  21. #20

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    Comins GCS-1, ME80, Little Jazz



  22. #21

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    I don't usually play like this any more, but it was fun. Definitely not for purists.


  23. #22

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    Nice fun take, John A. I have a daughter of the same age and she will quite nonchalantly walk into my office asking for "funds" (20 bucks) while I'm engaged in an online meeting. Gotta love 'em. I actually dug my trem bar out after seeing your clip, but it was getting late here, so desisted.

    Some nicely phrased lines there Triple_Jazz.

  24. #23

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    Here's one with some harmonic variations that my bass player buddy came up with!

  25. #24

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    Good stuff!

    TripleJazz: good chops - maybe a bit hectic?

    rp: some cool blues moves and very moody melodic ideas.

    PeterC: sounds like SRV is tackling a Herbie Hancock tune (in a good way) - good fun.

    Ron: very cool and funky.

  26. #25

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    So I listened to some clips, looked over the chart, and decided to shoot my first reading of the tune. Mistakes and all.

    Spontaneity is greatly over-rated.

    REPOSTED: This time I have actually tuned the guitar.

    Observations and advice are appreciated.

    Last edited by lawson-stone; 05-01-2021 at 10:05 AM.

  27. #26

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    Quote Originally Posted by lawson-stone
    So I listened to some clips, looked over the chart, and decided to shoot my first reading of the tune. Mistakes and all.

    Spontaneity is greatly over-rated.

    Observations and advice are appreciated.

    Lawson - can it be your guitar is out of tune?

  28. #27

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    Missed a few of the previous threads.. .. so here's a version of Cantaloupe. I went for a modern sound for a change. Probably mixed the guitar a bit too loud..


  29. #28

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    Quote Originally Posted by TOMMO
    Lawson - can it be your guitar is out of tune?
    Possible... will check. Geeze.

  30. #29

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    Quote Originally Posted by Peter C
    Nice fun take, John A. I have a daughter of the same age and she will quite nonchalantly walk into my office asking for "funds" (20 bucks) while I'm engaged in an online meeting. Gotta love 'em. I actually dug my trem bar out after seeing your clip, but it was getting late here, so desisted.

    Some nicely phrased lines there Triple_Jazz.
    My "office" this past year has been the kitchen, which has also been my wife's office, my recording studio, and the kitchen. Astonishingly, there have been relatively few photo-bombings, so I can't complain. Going back to my actual office imminently, OTOH, I can complain about ... Anyway, that was a cool take. Definitely rawks.

    Tommo: I think "hard bop slide guitarist" is your destiny.

    Ron: cool changes, and cool playing. I enjoyed that.

    TripleJazz: cool Sco-ish tone, good energy, good ideas. One observation: This tune is truly deceptively simple. The melody and harmony are easy, but it is really challenging rhythmically because the piano and the melody are both offset from the drum beat, and in some spots with greater note density I think it got away from you a little. So maybe try to "breathe" a little more? [The track I used is rhythmically simpler than the real thing, so I should put my money where my mouth is ...]

    Rags: as usual, lots of interesting melodic cells and sneaking around the harmony.

    Rpjazzguitar: great, bluesy take, great tone. You seemed to have really mastered the art of playing musically against an iReal track.

    Lawson: sounds good to me. The main issue I hear is that you're bit out of tune. A couple of minor clams (as I'm sure you hear), but the playing is rhythmically right on, phrasing is good too.

  31. #30

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    Quote Originally Posted by mr. beaumont
    Well, I had a little time between work and making dinner, so here goes nothing...

    I haven't played this song is AGES! Forgot how fun it was.

    great tone on yet another guitar.
    time feel is really good, making for great groove
    I especially like the inside-outside harmonic movement -- if you have some advice on how to achieve that, I promise to read it carefully!

  32. #31

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    Quote Originally Posted by John A.
    Decided to go weird on this one... Also, my son was undeterred by my sideways glances and walked into the shot to putter around in the kitchen. So I turned him into a blob, which enhanced the weirdness.

    I like this take! I have a weakness for the idea of screaming lead on jazz tune and I like legato phrasing. I also like the way you pay attention to the way the notes speak. And, the inside-outside movement harmonically -- same comment as for Mr B -- any ideas on how to work on that would be appreciated.

  33. #32

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    Quote Originally Posted by TOMMO
    Alright: a quick and dirty one:


    Double stops sound funky. I like the way you move from one octave to another.

  34. #33

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    Quote Originally Posted by Peter C
    I don't usually play like this any more, but it was fun. Definitely not for purists.

    The solo makes you feel something -- and reminds me of my youth. Very cool.

  35. #34

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    Quote Originally Posted by Ronstuff
    Here's one with some harmonic variations that my bass player buddy came up with!
    Nice jazzy take. Great tone and time.

  36. #35

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    Quote Originally Posted by lawson-stone
    So I listened to some clips, looked over the chart, and decided to shoot my first reading of the tune. Mistakes and all.

    Spontaneity is greatly over-rated.

    REPOSTED: This time I have actually tuned the guitar.

    Observations and advice are appreciated.

    Lot of good stuff there. My only advice, since you asked, would be to try to lean a bit forward on the time. I think if, say, you put this in Reaper (or any DAW) and visualized your notes against the click, you'd find them a little behind the beat. The same notes, moved forward 20 or 30 ms, may give a more propulsive feel. I struggle with this issue in my playing and I find that I have to force myself to focus on it. If I start thinking about scales or something, I often sacrifice time-feel. Even though I think time feel is the single most important thing.

  37. #36

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    Quote Originally Posted by TOMMO
    Lawson - can it be your guitar is out of tune?
    Huh? I thought they were tuned when they left the factory!



    (apologies to Joe Pass for stealing his line...)

  38. #37

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    Sorry to any ears I may have offended
    I was going to post something along these lines yesterday but the guitar went of tune during the recording. Got TI Bebops on there ATM...


  39. #38

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    Tommo, I never heard Stevie Ray play a note outside!

    Great feel, Alter. Your guitar level was downright subdued compared to mine. (Ouch! It was either post that or nothing).

    rpjazzguitar, I'm extremely young, as you can see in my clips. I honestly don't use those tones now as a rule but for some reason, I plugged in the Strat and set the amp to OD and phaser. I bet my family were thinking WTH.
    Last edited by Peter C; 05-01-2021 at 06:01 PM.

  40. #39

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    Quote Originally Posted by rpjazzguitar
    Double stops sound funky. I like the way you move from one octave to another.
    Thank you!

    Quote Originally Posted by grahambop
    Huh? I thought they were tuned when they left the factory!
    QC has had some bad days -at least that's what I've heard....


    Quote Originally Posted by Peter C
    Tommo, I never heard Stevie Ray play a note outside!
    I was referring more to the feel and your general approach to playing there....?

  41. #40

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    Quote Originally Posted by rpjazzguitar
    I like this take! I have a weakness for the idea of screaming lead on jazz tune and I like legato phrasing. I also like the way you pay attention to the way the notes speak. And, the inside-outside movement harmonically -- same comment as for Mr B -- any ideas on how to work on that would be appreciated.
    My outside moves here include:

    - Playing altered dominant scale material from V of I of the moment. So, C alt7 stuff over Fmin, Abalt7b7 over Db7, and Aalt7 over Dmin (especially on the Dmin chord)

    - Minor pentatonic 1/2 step above or below I of the moment, and getting back inside by bending up to a chord tone (e.g., E pentatonic on Fmin at the beginning of the second chorus). I guess you could call this side slipping.

    - Moving a motif around in steps or half steps. E.g., there's a point in there where I sweep down an Emin9 arp (over Dmin), and move that down in whole steps until I land on a chord tone (in this case, A). I didn't plan this. It was more a matter of the Emin9 over Dmin being a mistake/unintended dissonance and making lemonade out of lemons via the moving motifs around technique.

    - Playing two consecutive 1/8 notes (typically, either a 4th or a 1/2 step apart) on the high B, then repeating that pattern on the E (or vice versa). The 4ths version sort of mimics a sax false fingering effect.

    - Basically stabbing a note at random and playing down or up chromatically until I get to something that sounds right, and staying there for a while.

    As far as note intention and articulation are concerned, that's some I do try to do in general. Here specifically, distortion and whammy bar help a lot with that, as does bending and left hand vibrato.

  42. #41

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    Quote Originally Posted by John A.
    My outside moves here include:

    - Playing altered dominant scale material from V of I of the moment. So, C alt7 stuff over Fmin, Abalt7b7 over Db7, and Aalt7 over Dmin (especially on the Dmin chord)

    - Minor pentatonic 1/2 step above or below I of the moment, and getting back inside by bending up to a chord tone (e.g., E pentatonic on Fmin at the beginning of the second chorus). I guess you could call this side slipping.

    - Moving a motif around in steps or half steps. E.g., there's a point in there where I sweep down an Emin9 arp (over Dmin), and move that down in whole steps until I land on a chord tone (in this case, A). I didn't plan this. It was more a matter of the Emin9 over Dmin being a mistake/unintended dissonance and making lemonade out of lemons via the moving motifs around technique.

    - Playing two consecutive 1/8 notes (typically, either a 4th or a 1/2 step apart) on the high B, then repeating that pattern on the E (or vice versa). The 4ths version sort of mimics a sax false fingering effect.

    - Basically stabbing a note at random and playing down or up chromatically until I get to something that sounds right, and staying there for a while.

    As far as note intention and articulation are concerned, that's some I do try to do in general. Here specifically, distortion and whammy bar help a lot with that, as does bending and left hand vibrato.
    Great post. I can immediately use this! At least the part about stabbing a note at random <g>.

  43. #42

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    Oh wow, y'all were busy while I was unplugged from technology the last 24 hours or so...beautiful weather here, soaking it in.

    Tommo, loved the laid back take. I'm gonna comment on you and lawson together here, because I liked the vibe of both of yours a lot, my only suggestion would be to sit behind the beat just a bit more...it'll loosen it up a bit . But nice lines from both of you.

    Rag, this one really works with your style. Its like the Island music that i got hooked on in Hawaii...Hang loose and all that. I want some Spam musubi now

    Triple, you used the same track I used, I think...it drags, doesn't it!? You weren't always in sync with it, but your playing was a heck of a lot more fun and energetic than the track. I enjoyed Sco-mode.

    Speaking of energy, Peter, that Robin Trower romp was so much fun. Great example of how you can play blues on the whole thing.

    Rp, dig the subtle octave effect...made the whole thing smooth...which is damn tough to do with iReal. Nice playing.

    I'd offer something as to my inside/outside playing, but I don't really feel qualified to offer advice, as I think I'm awful at playing out. Here I'm using my usual things I try, some side stepping, some anticipating the change early, and I move a lick in m3rds the second time through on the Db7.

    Alter, great take...love the dirty Strat tone, and great lines.

    Ron, at first I wasn't sure about the added chords,but by the second time through I forgot about that and just enjoyed both of your playing. Great in pocket stuff, really grooved.

    I think thats everybody? I better check.

  44. #43

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    Here's another version, this time I'm going for alot more outside playing. As I've mentioned a few weeks ago I've been working on this lately. I just find my playing bland harmonically. Recorded this today and good timing I guess with the recent discussions involving playing out.
    It's probably a bit too much, but what the heck I see this as practicing at this point!

    Again with the added chords(sorry Jeff!) My bass player buddy loves to add his harmonic twists to tunes!

    I've been busy, but will try to listen to all the versions soon!

    Recorded this with two amps, and I like the results. A 1960 Ampeg Mercury with a Polytone Teeny Brute from the 80's.

    Last edited by Ronstuff; 05-02-2021 at 10:00 AM.

  45. #44

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    Quote Originally Posted by mr. beaumont

    Tommo, loved the laid back take. I'm gonna comment on you and lawson together here, because I liked the vibe of both of yours a lot, my only suggestion would be to sit behind the beat just a bit more...it'll loosen it up a bit . But nice lines from both of you.
    Thanks Jeff for your compliment and advice. I will go back and listen to my take and work on that.
    Last edited by TOMMO; 05-02-2021 at 02:38 AM.

  46. #45

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    Jeff -

    Spam musubi
    Jeez, I haven't seen one of those before. Does pineapple go with that?

  47. #46

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    Quote Originally Posted by rpjazzguitar;[URL="tel:1118654"
    1118654[/URL]]I think if, say, you put this in Reaper (or any DAW) and visualized your notes against the click, you'd find them a little behind the beat. The same notes, moved forward 20 or 30 ms, may give a more propulsive feel.
    This is a great idea! My stepson has some recording software, I’ll have to see if he can help me with this.

  48. #47

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    Quote Originally Posted by John A.;[URL="tel:1118733"
    1118733[/URL]]My outside moves here include:

    - Playing altered dominant scale material from V of I of the moment. So, C alt7 stuff over Fmin, Abalt7b7 over Db7, and Aalt7 over Dmin (especially on the Dmin chord)

    - Minor pentatonic 1/2 step above or below I of the moment, and getting back inside by bending up to a chord tone (e.g., E pentatonic on Fmin at the beginning of the second chorus). I guess you could call this side slipping.

    - Moving a motif around in steps or half steps. E.g., there's a point in there where I sweep down an Emin9 arp (over Dmin), and move that down in whole steps until I land on a chord tone (in this case, A). I didn't plan this. It was more a matter of the Emin9 over Dmin being a mistake/unintended dissonance and making lemonade out of lemons via the moving motifs around technique.

    - Playing two consecutive 1/8 notes (typically, either a 4th or a 1/2 step apart) on the high B, then repeating that pattern on the E (or vice versa). The 4ths version sort of mimics a sax false fingering effect.

    - Basically stabbing a note at random and playing down or up chromatically until I get to something that sounds right, and staying there for a while.

    As far as note intention and articulation are concerned, that's some I do try to do in general. Here specifically, distortion and whammy bar help a lot with that, as does bending and left hand vibrato.
    Awesome insights, thank you for sharing!!

  49. #48

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    Quote Originally Posted by lawson-stone
    So I listened to some clips, looked over the chart, and decided to shoot my first reading of the tune. Mistakes and all.

    Spontaneity is greatly over-rated.

    REPOSTED: This time I have actually tuned the guitar.

    Observations and advice are appreciated.

    I could be totally wrong about this, but it sounds to me like you've turned the beat around (i.e., your "1" is the track's "2"). I was counting from the count-in through the end of the take, and once you're past the head, all your phrases start after the first beat of the measure. Phrases that sound like they should start on 1 (based on note choice and rhythmic emphasis) are starting on 2 pretty consistently.

    I'm thinking maybe you're counting the first note of the melody as 1 of the first measure? That could cause you to offset the whole tune by a beat because that first melody note is actually on 4 of the last measure of the intro. [Or interlude or ending, or whatever you call the 4 bars of vamp at the beginning and between choruses].

    I've definitely done this myself. When learning this tune, I was really thrown by it rhythmically, and still have to explicitly count to get the melody right and find the start of the form.

  50. #49

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    What is the purpose of the virtual jams? We're not actually jamming together are we? Everyone is just hashing out their own clips right? Why does everyone's video have a funny title?

  51. #50

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    Quote Originally Posted by John A.
    I could be totally wrong about this, but it sounds to me like you've turned the beat around (i.e., your "1" is the track's "2").
    I listened to your clip lawson and I have to concur to what John says....