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Our pick this week is courtesy of PickingMyEars, who has a fun idea for those who post multiple takes this week:
"Just did this unaccompanied.
Definitely warts and all, but it's a damn good challenge to get you to really hear the tune.
That bridge is harder than it seems.
For my pick of the week, I wanted to do something a little different.
Instead of leaving constructive criticism and likes, we go a step further. Lemme put on my teacher's hat
The group assignment for "This I Dig of You" is...
1.Leave a comment of one detail that you really enjoy from another person's take of the tune.
2. Now, rerecord yourself playing another take. Try to incorporate that detail into YOUR solo.
If Pete B says he's still learning, then we are ALL learning. Bout time we learn from each other and immediately apply it in our own playing.
It's one week, so if it goes awry... it's one week
Worth a shot."
I like the idea...so have at it people!
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05-20-2021 04:08 PM
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Thank you PickingMyEars and Mr B.
I looked at this one ages ago when it was on the PS thread. Now it's time to start working on it
I dug through my jazz folder and found this arrangement by Howie from back then.
Looking forward to getting stuck in :
:
No idea why I wrote in those extra chords back then. Please don't ask
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Fun tune, deceptively tough. Had a few minutes after work today, so here's a first run...I'll definitely need another!
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For Mr. PickingMyEars, Dug your tone and your faster passages. Overall clearest recording I've heard from you. Also, was the metronome your only backing track? Nice work. Some really great lines there. I think if you work on your production your playing will jump out more.
Originally Posted by mr. beaumont
Our pick this week is courtesy of PickingMyEars, who has a fun idea for those who post multiple takes this week:
"Just did this unaccompanied.
Definitely warts and all, but it's a damn good challenge to get you to really hear the tune.
That bridge is harder than it seems.
For my pick of the week, I wanted to do something a little different.
Instead of leaving constructive criticism and likes, we go a step further. Lemme put on my teacher's hat
The group assignment for "This I Dig of You" is...
1.Leave a comment of one detail that you really enjoy from another person's take of the tune.
2. Now, rerecord yourself playing another take. Try to incorporate that detail into YOUR solo.
If Pete B says he's still learning, then we are ALL learning. Bout time we learn from each other and immediately apply it in our own playing.
It's one week, so if it goes awry... it's one week
Worth a shot."
I like the idea...so have at it people!
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metronome was my only backing. I got a metronome that clicks every 2 measures and chimes every 32 measures to mark the form.
Definitely NOT my first attempt.
My production is still a work in production I record "live" with an amp in the room. Still working on getting the sweet spot.
Okay, I will shut up. There's already stuff in Mr. B's take that I wanna steal... but I'll wait for more victims... ahem... participants
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You could play this as a blues.....
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I love this weeks pick! I love the idea of utilizing the other submissions to influence our own take so great idea Picking! Originally Posted by mr. beaumont
I intend to utilize whatever it is that’s going on in your take at 1:10 Mr B, very cool stuff!
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It should be the first tune on the list.
I did all the tracks on this one. Two guitars, bass, shaker and rebolo (a Brazilan drum).
Apologies in advance for the mix. (EDIT: I redid it, maybe it's better)
https://www.soundclick.com/artist/de...?bandid=562588
A word about the strange thought process. I started out to do this reggae style. I got a reggae drum track from IRealPro that I liked. I put it into Musescore (along with the Irealpro bass track and a few others) and went from there to Reaper, but I had timing problems. Musescore (and, maybe other notation programs) add a few milliseconds at the start of an exported mp3 file. I had trouble snipping it.I couldn't get it aligned with the click. So, I went pack to Musescore and exported Midi. That didn't solve the timing problems, so I tried to record to just the click, but I couldn't get a reggae track I liked. I did record the melody with the click. I added a comping track, , which came out ok, but samba, not reggae. I then used it to record the melody track and solo. Then I replaced the comping track with the one you heard. It needed percussion and I'm limited there, so I put on a shaker and the rebolo --- which looks a little like a floor tomtom (smaller by a third maybe) and is played held in the lap. One hand taps the wood, the other hand plays the skin. So, this is, basically a failure to record a reggae version. The rhythm guitar ended up bossa or samba. The bass line (the only holdover from the reggae version) is way too busy and erratic for samba (think quarter notes in 2/4), but should make you feel better about your own bassist. The guitar is the Yamaha Pacifica 012 with some reverb from my ME80, and, from Reaper, some EQ and a bit of delay. The melody is going by at around 180 in 4/4, but the comping is a medium slow samba at 90, thinking in 2/4, which is the way samba is usually written.Last edited by rpjazzguitar; 05-22-2021 at 08:20 PM.
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There is an audit at my facility next week so my “shed” will be closed. I decided to run through it today and what I found was myself hanging on for dear life as opposed to trying to incorporate anything from the previous submissions!
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Been a wee bit busy with work and the school year ending.
Mr. B, I want to steal your chill as a pill jazz face Just kidden. Your articulations are always incredibly snappy. Those triplet mordents with the hammer on whatever the heck... Anyway, they sound organic and make the line pop. I'm not always a fan of professional players that over use it, because it can sound weak if you ain't fully conscious of what you are doing. Anyway, I wanna steal those articulations from you cause I like the way you do that thang that ya do... or something.
RP, I would never think to do this tune in a Samba/ Latin feel. Excuse the naivete in describing the groove. I like recording live with no post production... I think I can cop some of that Brasil flavor. But only some, you've got a lot more depth to your Bossa/Samba song of carnival type sound. Back in college, we use to have these three musicians from Brazil who could play the shit outta that stuff cause... they were from Brazil. Hep, you remember them cattos?
Triple_Jazz, octaves on that melody? Really? It ain't hard enough? Playing the head in with octaves takes balls, my friend. And I saw your focusing on making those notes pop and groove. I always have to work on my octaves, so it's my time to hunker down and brave through them.
So, next take from me will have:
1. Jef's articulations
2. RPs Samba groove
3. Triple's octaves and pop
Work's cut out for me, don't ya think? About my unaccompanied take. I heard parts that didn't quit nail the changes. And I got off from the metronome at points. Thing is, playing without anything to back me at all besides a click exposed all that--in a good way. Helps me hear what is wrong because it ain't hidden behind a backing track. That, and I am growing tired of playing with backing tracks... miss the live, playing with the peeps, type stuff. Don't we all kinda miss it?
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I've already lifted the break at the beginning of your solo. Another great job. Originally Posted by mr. beaumont
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Here we go. I played this a whole bunch tonight. Another tune I've never tried before (not sure I've even heard it), so as usual I spent way too much time obsessing over getting the head right. I did it zillion times with my archtop (which is pretty loud), until my wife gave the death stare, so I switched to semi-hollow so I could obsess a bit more quietly, with the result that I was a bit burned out for soloing. So maybe another later on ...
Ok, on to the things I like in others' versions:
Jeff: I like the way you manage to sneak in a taste of Charlie Christian/jump blues (especially at the end), and a great yell at the end.
ToothPick: I like the way you retained a sense of pulse. I could feel the time in your lines, even without a backing section.
Triple Sec: Really good phrasing throughout. Even though I could tell you were struggling a bit with figuring out what to play, the shape of what you played was right on.
RPGrenade: I dig the way you reinvented the tune. It's cool to go out on a limb like that.
No sure I'll be able to incorporate any of the above in to another take of my own, but food for thought anyway.Last edited by John A.; 05-22-2021 at 10:51 AM.
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Pretty desultory tune, really...
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Oh, John, the son rolls his eyes and the wife does the death stare... the life of a geetar jazzer isn't easy :-)
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Johnny B Goode -- I could say that I'd steal the death stares, but I already get them in spades. My wife loved that I played guitar when we first started going out... more than a decade later, I bet she's sick the guitar by now. Always glad to commiserate
In all seriousness, what struck me about you take was how you approached the melody. We are NOT going to get into a debate on how to play the melody mechanically. I like you moved your hand around as you played the melody, made the notes feel more connected and singing as opposed to doing the melody strictly in position. I also liked the syncopation in the head.
From you, I will steal some of those mechanics in the melody and those long lines that you crafted in your solo. Short phrases are great, but variety is the spice of... See, I used that cliche in class the other day and not one student got the reference... Am I getting old? Didn't help that the principal was observing me the whole time
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At least they notice. Better than being overlooked entirely. I'll take what I can get. Originally Posted by ragman1
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Mr. Rags On Every Song We Pick
(kidding)
Playing without backing is a challenge. Playing without an amp, even more so.
You have a very sweet and singing acoustic sound that never feels forced. In fact, you sound very laid back.
Two things I want to steal from you:
1. Playing acoustic, as you always do. I just have my archtop, but the top is quite lively.
2. The way you sustain your lines. Your held notes sing, and sound horn like. Your held notes sound purposeful as well. I think one of the more challenging things to on the guitar is to control the sustain of your notes intentionally. How to make notes sing and how to make notes pop. Deceptively easy for sure.
So far I have:
1. Jef's articulations
2. RP's Latin
3. Triple's octaves
4. John's long lines and melody
5. Rag's acoustic tone and singingly sustained notes
… A lot to incorporate in one take for sure, but I want to try it out and learn some.
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Reminds me of a joke. Young Eddie is away from home on a holiday. His mother rings him to see how it's going.
'Oh, it's dreadful' he says, 'the neighbours are ghastly. There some woman who sounds like she's pleading and begging. And some man keeps shouting and banging on the wall'.
'Well,' says his mother, 'they sound like perfectly awful people to me. You just keep away from them'.
'Oh, I do' says Eddie, 'I just stay in my room playing my tuba all day'.
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Do you mean me? I always play with a backing, only I make my own. It's good practice for chords and I sync with it better than a pre-recorded band track. But sometimes a proper track is better to get the real flavor of a tune. Originally Posted by PickingMyEars
Mr. Rags On Every Song We Pick (kidding)
Playing without backing is a challenge.
The acoustic lends itself to the kind of sound you describe but I've played electric too and it's the same. I 'hear' singing so I suppose it comes through the fingers like that.
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Not sure why you'd call it that. It strikes strike me as the opposite, purposeful almost to a fault. The purpose seems fairly obviously to be having something to blow on at a recording date written in a style derivative of what Trane and Rollins were doing at the time. You can most hear the wheels turning, and the conversation between the A&R guy and Mobley. As a vehicle for guitar players in lockdown, maybe not much of a tune, but probably a lot of fun to play with the right group. Originally Posted by ragman1
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It's a blowing tune...medium up swinger...and I think it could definitely work as a samba, but I do think it's gotta be up a little bit for this song to work.
It's kinda like "moment's notice" lite, with the pedal point section at the beginning of the form.
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I thought the last chorus with the bluesy approach sounded really nice! Originally Posted by John A.
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I like the make your own backing approach. It gives a more individualized sound and we get to hear the player's approach to comping. Ragman has a consistent artistic approach which I like. Originally Posted by mr. beaumont
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Well, I wasn't just trying to be controversial. Having played and listened to it, it seems to be just a vehicle for soloists to display a lot of bebop playing. Not that there's anything wrong with that, it's an acceptable sound. But in terms of a tune, by which I mean a melody, it's undeniably lame alongside melodies that are instantly recognisable and have aesthetic merit, if I can put it that way. Originally Posted by John A.
I hadn't heard the Mobley banter but it appears that's just what I'm saying!The purpose seems fairly obviously to be having something to blow on at a recording date written in a style derivative of what Trane and Rollins were doing at the time.
Maybe I just prefer something that resonates with my sense of tunefulness. It doesn't matter, carry on :-)
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I think the own backing stuff is cool, I just don't have the time or tech for it. Originally Posted by rpjazzguitar
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