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  1. #26

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Lawson. Great tone especially on the first one. Nice lines on both.

    Alter. Terrific time feel. Love the comping track.

    Triple. Oleo is my favorite version and I especially liked how you navigated the bridge.

    Vintage. That's ATTYA, isn't it? Melody sounded good, couldn't hear the comping very well.

    Ragman. Consistent sound and style on all your tracks. I admire anybody who finds his own sound.

    Jeff. If I had your chops, I'd try to play exactly like that.

  4. #28

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    Quote Originally Posted by rpjazzguitar
    Lawson. Great tone especially on the first one. Nice lines on both.

    Alter. Terrific time feel. Love the comping track.

    Triple. Oleo is my favorite version and I especially liked how you navigated the bridge.

    Vintage. That's ATTYA, isn't it? Melody sounded good, couldn't hear the comping very well.

    Ragman. Consistent sound and style on all your tracks. I admire anybody who finds his own sound.

    Jeff. If I had your chops, I'd try to play exactly like that.

    Hi, changes started at 940 (or whatever I said in the post). Couldn't get the link to start at the correct time for some reason.

  5. #29

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    Quote Originally Posted by vintagelove
    Here's some couch noodlin from a few years ago.

    9:40 (I can't for the life of me get the link to start at that time. Sorry)

    Smoking!

  6. #30

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    Here's a quickie. I was not liking of the backing tracks I found, so I went with Mr. Sunnybass. Not much groove here, I'm afraid, but at least it's a little weird.


  7. #31

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    Here's my contribution:



    It's not much of a fast tempo for R.C. but I can't do them much faster and that's not a problem of technique. I'd appreciate some tips on how to get better at playing at fast tempos....

  8. #32

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    Here's a first cup of coffee unaccompanied take...the metronome is my bare foot on a wood floor

    I think I need to work at this more

  9. #33

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    Let's see who has posted in the last day here...

    Lawson, liking the shorter phrases, bluesy inflections...good take.

    Triple, good energy, great time. Liked this.

    Rp, nice relaxed swinging, great tone. You sound very in control.

    Tommo, very enjoyable, great tone, nice direction in your playing. Noodle free zone.

    John, that tone, and a few of your angular lines, reminded me of the first Marc Robotech and the prosthetic Cubans record. Lots of fun, and I thought it grooved, in a push kind of way as opposed to a "lay back."

  10. #34

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    Thank you Jeff!

  11. #35

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    Quote Originally Posted by mr. beaumont
    Here's a first cup of coffee unaccompanied take...the metronome is my bare foot on a wood floor

    I think I need to work at this more
    Kind of a country swing type of vibe. Sounded fun!

  12. #36

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    Some more general whining:

    I don't enjoy rhythm changes. I like some of the heads, eg Oleo and Anthropology. But, when I try to play over the changes I can't get any emotional connection to the sound. I don't feel anything. Melodic ideas usually occur to me on other tunes, but not so much with rhythm changes.

    I go to jams where it gets called, so I have a few stock things I can do in lieu of actually trying to play jazz. I used them as a kind of "head" in my clip, unless I've unconsciously stolen that line from somewhere.

    Anybody else feel this way?

  13. #37

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    I can understand that...I guess I'm not too big on emotions or trying to get an emotional reaction or convey a feeling when I'm playing, becausethere's actuallyvery few tunes that truly spark a strong emotion in me...or maybe for me, "fun" is enough of an emotion for me to enjoy a tune. I can definitely still find RC fun, particularly if I get to play it with other people.

    But I think its pretty normal to just have tunes that "don't do it" for you. And it might not even be a correlation from enjoying listening to enjoying playing. Afternoon in Paris was like that for me...I liked listening to other versions, but I couldn't connect with it when I was playing it.

  14. #38

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    Quote Originally Posted by rpjazzguitar
    Some more general whining:

    I don't enjoy rhythm changes. I like some of the heads, eg Oleo and Anthropology. But, when I try to play over the changes I can't get any emotional connection to the sound. I don't feel anything. Melodic ideas usually occur to me on other tunes, but not so much with rhythm changes.

    I go to jams where it gets called, so I have a few stock things I can do in lieu of actually trying to play jazz. I used them as a kind of "head" in my clip, unless I've unconsciously stolen that line from somewhere.

    Anybody else feel this way?
    I have a similar position. For me the A section is too generic and the B section is too hokey. I’m not sure why it’s become such a staple other than the possibility some killer tunes have been written to its changes (you mentioned two). That’s the thing though, play Oleo or Anthropology don’t just call out “rhythm changes” that seems meaningless.

  15. #39

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    Oops, accidentally deleted this clip from my YT account!

    Last edited by Peter C; 06-13-2021 at 08:30 AM.

  16. #40

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    Slick Alter. Backing track helped a lot

    vintagelove, liked the phrasing. The scatting is a question of personal taste.

    Cool Jeff, though I think a slightly slower tempo would fit your style better. The second clip was swinging.

    Triple_Jazz, I think all you need is a bit more practice (don't we all) because that sounded promising.

    Ha, I didn't even consider whether I particularly "liked" this progression. Had (erm, made) a spare hour, found a backing track and played it. It don't matter none! Anyway, I have just realized how much I must have been influenced by playing with a pre-bop clarinetist for years because it really shows in the phrasing and note choice. Simple stuff.

  17. #41

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    I'm getting kind of sick of the backing tracks I find on youtube and just felt like doing my own, and then go through the exercise of making up my own contrafact. I mean we couldn't have a rhythm changes thread without a contrafact, right? It's a dirty job, but somebody had to do it. Not much of a solo, but I didn't want to go crazy with take after take, and it was mainly about memorializing the head and counter-melody, so I just went with the first clean one I got down. Also, in response to the comment on the blues thread about how nobody smiles, I made a conscious effort to smile here. It didn't work.



    OK, a few thoughts so far:

    Jeff: That first one great. I especially dig what you did on the bridge the second time round. The acoustic one was short and sweet, and very tight.

    Alter: Awesome stuff again. I love the the way you articulate notes, and that's really a great sound.

    VintageLove: wow, that's some serious bop you got there. Your playing is really the couch, man. It's where's it's at (say it out loud ...) . The Giant Steps intro wasn't too shabby, either.

    SchmatteMencsh: Nicely done. Let's hear you sing some more.

    Lawson: Nice one. Started out very strong. Some nice quotes in there, too.

    Trips: That was as strong one. Great stuff on the bridges, especially.

    RP: I love the way you bring out the changes. You had some interesting kind of angular phrasing going there, plus some cool quotes. I enjoyed that.

    Tommo: Excellent. It sounds like you've got a bit of phase shifter or flanger on there + compressor? Gives it a cool Danny Gatton Redneck Jazz kind of feel.

    PeterC: nice bluesy vibe. Would've liked to hear more
    Last edited by John A.; 06-13-2021 at 10:07 AM.

  18. #42

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    Quote Originally Posted by John A.
    I'm getting kind of sick of the backing tracks I find on youtube and just felt like doing my own, and then go through the exercise of making up my own contrafac
    John, That sounded great. Feels like the tone allows you to be you. By that, I mean that the extra sustain gives the lines weight which works with the melodic content. The EXDC is a fine instrument for that (I have the same one and used it for years for that reason, as my primary instrument) because it runs dark and sustains, to my ear.

    We play rhythm changes because of the bop connection, which is traditionally not played with a lot of sustain. But I don't think that matters. The idea, I think, is to sound like yourself. This is working for you, IMO.

  19. #43

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    Quote Originally Posted by John A.

    Tommo: Excellent. It sounds like you've got a bit of phase shifter or flanger on there + compressor?
    Thank you John. Not consciously. It's a clean setting on the Tascam and all effects dialed down to zero except for reverb. Could be that there is still some at the zero setting?

  20. #44

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    Quote Originally Posted by John A.
    I made a conscious effort to smile here. It didn't work.
    Ah, I see we're making real progress!

  21. #45

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    Quote Originally Posted by ragman1
    Ah, I see we're making real progress!
    I think I could hear a smile on your track...

  22. #46

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    Always :-)

    I have to agree with rp that it's really just an exercise and probably becomes a bit rigid eventually. I mean, there are three A sections to every chorus and, you know, after more than about two it's got a bit old. But it can still be fun.

    Here's a few in G, always a nice key. Nothing fancy. Smiling chirpily all the way through


  23. #47

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    Quote Originally Posted by ragman1
    Always :-)

    I have to agree with rp that it's really just an exercise and probably becomes a bit rigid eventually. I mean, there are three A sections to every chorus and, you know, after more than about two it's got a bit old. But it can still be fun.

    Here's a few in G, always a nice key. Nothing fancy. Smiling chirpily all the way through

    I think the main challenge to playing something interesting over RC is that within each A section there's so much repetition. It's not just that you get the same section 3 times in a row, which is what you get with every AABA tune. You get the same short phrases repeated so much. But real jazz musicians find ways to break out of that. Listening now to the Miles/Sonny Rollins version of Oleo, and that's a great lesson. Both leave a lot of space, play phrases that carry across sections, and repeat motifs in a way that disguise the form without losing the form.

    I also think that what we're doing here (playing by ourselves, with or without backing tracks) creates an over-emphasis on form and harmony and exaggerates the exercise-like qualities of many tunes. A band erases that quality by being responsive to and pushing one another, creating variety by having more than one soloist and soloists of different timbres, going into interludes where the form recedes, varying the rhythm (who could ask for anything more), the element of surprise, etc.

  24. #48

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    Nice version by Scofield here, which I think illustrates the points that John A. made:


  25. #49

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    Quote Originally Posted by John A.
    But (real jazz) musicians find ways to break out of that.
    Of course, that's the whole point.

  26. #50

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    Here's a short one. I also agree with John about the posting here and the format. The interaction element is such a huge part of playing jazz. I just recorded 19 original tunes a few weeks ago and it was such a blast, got to play with some really great players. I was in a frame of mind of wanting to play melodies and playing through changes not over them.
    I am definitely just playing the form and making the changes here!
    I'm enjoying my latest setup: A Princeton Custom 68 amp, and a JHS Morning Glory overdrive.