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  1. #1

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    Ok, I hadn't heard from any more volunteers, so I'll call this week...if folks are still interested in calling a tune, let me know...I can go through the rotation of people who have called one again too, but I don't want to leave anybody new out, either.

    Anyway, here's our tune for week 18!

    JGBE Virtual Jam (Round 18) - Wave-1620912101623-jpg

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Wait a second ... this was written as a vocal pop song, not as a jazz instrumental. I think we may have a charter violation here. Not that I'm gonna call the jazz police, but we could be in some trouble here.

    Edit: OOPS! I stand corrected. The first recording is an instrumental by Jobim himself.

    Never mind.
    Last edited by John A.; 05-13-2021 at 08:52 PM.

  4. #3

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    I thought it was time for a bossa. We are thinking together

  5. #4

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    oooh, Wave, OK! A little moldy, but always fun to play.

  6. #5

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    Yes, it does go back but it ain't an easy solo, trust me :-)

    But it is a nice tune!

  7. #6

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    I thought it was a damn crime to call this a "jazz" jam and not include any Jobim...I'd argue the only non-American composer to have such a big influence on the music.

    This one should be a somewhat familiar "American" form, though...

  8. #7

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    I find the progression easy to commit to memory...

  9. #8

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    Bossa, esp. Jobim, has always been part of jazz. Jazz players record it and it's in the real books. No probs there.

  10. #9

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    Quote Originally Posted by TOMMO
    I find the progression easy to commit to memory...
    It's a blues with a bridge, really. Not that it's going to sound good to just blow blues licks on it. But you know I'll at least try

  11. #10

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    First time participant here.

    I've got the real book changes but does anyone have anything simpler?

    Thank you

  12. #11

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    Ha !
    I hear ya Liarspoker.
    I've always loved the fact that rag does his own backing and in this case, especially, it comes off without a hitch.
    Well done sir !

    Cheers,
    Mike

  13. #12

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    Quote Originally Posted by Liarspoker
    First time participant here.

    I've got the real book changes but does anyone have anything simpler?

    Thank you
    In a word, no. Unless one simplifies it oneself. A tune's a tune and, with some variations, those are the harmonies; it's what makes jazz sound like jazz. Jazz is generally complex.

    It depends what you mean by simpler. You could reduce all the chords to basic chords, like Cmaj7 to just C, but you'd lose a lot of the feeling. You could replace all the ii-V's with just V chords, so Dm9 - G7b13 would just be G7 but the same applies.

    The other thing, of course, is that you'd never learn how to play anything properly. You'd just get into the habit of making jazz sound like folk music or something and that would be that.

  14. #13

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    So here's a quick one, trying to emphasize the blues-with-a-bridge aspect of the song.


  15. #14

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    Quote Originally Posted by Liarspoker
    First time participant here.

    I've got the real book changes but does anyone have anything simpler?

    Thank you
    Like Mr. B says above you can think of it as blues with a bridge. You can sort of get away with just playing blues over the A sections, or if not literally that, keep blues in your head and use it as a jumping off point for phrasing and melody ideas while hitting some of the changes more explicitly. For the bridge, you can ignore the slashes and just think of it as Gmin C7 Fmaj Fmin Bb7 Eb A7.
    Last edited by John A.; 05-14-2021 at 08:54 PM.

  16. #15

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    Here's some couch noodling the wife decided to record on her phone one night.



  17. #16

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    Quote Originally Posted by John A.
    So here's a quick one, trying to emphasize the blues-with-a-bridge aspect of the song.

    Very nice John

  18. #17

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    Quote Originally Posted by John A.
    So here's a quick one, trying to emphasize the blues-with-a-bridge aspect of the song.

    Very nice take, John!

    Quote Originally Posted by vintagelove
    Here's some couch noodling the wife decided to record on her phone one night.


    I like that type of couch noodling!

  19. #18

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    Quote Originally Posted by vintagelove
    Here's some couch noodling the wife decided to record on her phone one night.


    Very nice vintage. Would love to hear a better quality recording ?

  20. #19

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    Quote Originally Posted by Liarspoker
    Very nice vintage.
    Some would call it a "field recording"...

  21. #20

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    Quote Originally Posted by ragman1
    (I don't get this blues thing. Sure, it's got 12 bars and the 5th bar is the 4 chord, major. The 9th bar is the 2 chord, but dominant. That's about it, isn't it? I mean, it's not like you really can play it as a blues. Somebody explain it to me)
    I wouldn't call it a blues either just because it's twelve bars in form...

  22. #21

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    Bebop blues in D (lol) ala Parker

    D6 | Em7 A7 | D6 | Am7 D7 |
    G7 | (Gm7) | F#m7 | B7 |
    Em7 | A7 | D6 | F#m7 C#7 |

    Wave

    Dmaj7 | Bbo7 | Am7 | D7
    Gmaj7 | Gm7 | F#7 | B7 |
    E7 | Bb7 A7 | Dm7 G7 | Dm7 G7 |

    I few like a lot of people don’t know that first variant (I didn’t) but actually it fits some of the common Parker heads better than the standard ‘jazz edu’ changes, and is obviously closer to Wave, the main difference are some chord quality changes, specifically the Gmaj7, F#7, E7 and perhaps most importantly the modal interchange to Dm7 G7 at the end.

    To me those changes are a sort of missing link... for Blues for Alice changes too.
    Last edited by christianm77; 05-15-2021 at 10:26 AM.

  23. #22

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    Yea the Blues reference is...
    A Blues is really about I7 and IV7 and some kind of turn around.

    This blues uses a little Relative Min. and Parallel Min. And Jobin is a classically trained Musician, which results in about as Vanilla as it get when talking about "Blues", right depending on which coast your from or hangin... there ain't no dirt or grease to be found.... maybe a little dust.

  24. #23

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    Quote Originally Posted by ragman1
    Well, I don't know, can't get myself off the ground. Here's one dashed off today. I haven't even listened to it yet. Sorry about the other one. Anyway, good luck with this...

    Attachment 81539



    (I don't get this blues thing. Sure, it's got 12 bars and the 5th bar is the 4 chord, major. The 9th bar is the 2 chord, but dominant. That's about it, isn't it? I mean, it's not like you really can play it as a blues. Somebody explain it to me)
    This demonstrates pretty clearly that you can play the melody over a blues progression (though you have to alter it rhythmically a little to make it work in swing time).



    It's not literally blues (in the same sense that neither Bluesette nor Blues for Alice nr Confirmation is), but has a blues form (with major colors). That enables you to treat it as a blues when soloing, you can use blues style call/response phrasing, and you can play minor pentatonic material and/or altered dom7 material and/or blue notes in the same spots where you would on a real blues without it clashing (granted, blues tonality nearly always works over major tonality, so that's not significant in itself). In my version up thread, the first A is a blues solo, period; I was thinking blues in my head and playing things that I would play over a jazz blues. The second A much less so, but has a blues turnaround. The third is somewhere in between the first two.

  25. #24

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    Quote Originally Posted by Reg
    Yea the Blues reference is...
    A Blues is really about I7 and IV7 and some kind of turn around.

    This blues uses a little Relative Min. and Parallel Min. And Jobin is a classically trained Musician, which results in about as Vanilla as it get when talking about "Blues", right depending on which coast your from or hangin... there ain't no dirt or grease to be found.... maybe a little dust.
    Not always

    Again, looking at Parker; The b7 on I is rarely used as a blue note in the Parkers blues heads for instance. Normally it appears in bar4, acting functionally.

    I7 is more a 60s thing. And Jobim was influenced by Bird and swing

    For bird the blues usually enters in on chord IV, this is as true of his non blues forms such as Confirmation. You get the b5 and b3 of the key on that chord.

    there’s a lot of blues flavour in Wave, especially in the dominant cycle prog.

    Prez was pretty bluesy and we often played IV as a major seventh. As did Parker sometimes too.
    Last edited by christianm77; 05-15-2021 at 10:51 AM.

  26. #25

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    Quote Originally Posted by Reg
    there ain't no dirt or grease to be found.... maybe a little dust.
    No blues sound then. Defining blues by sheer form is a little shallow in my opinion...