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Originally Posted by Triple_Jazz
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06-13-2021 01:06 PM
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Originally Posted by mr. beaumont
I first heard him on this record:
The leader of this band was my upstairs neighbor in an apartment I lived in (ca. 1983-4), and a real character. Anyway, one day I'm jamming in my room with a buddy, and this guy rings my doorbell and starts jabbering at me in heavily accented English and French. I manage to slow him down and figure out that he wasn't complaining about the noise, but instead inviting me to join his band. He then hands me this record and asks me to learn the songs on it. I never could quite nail Ribot's feel, but I think some of it did rub off.
I met Ribot through a mutual friend not too long after (but before he became well known), and have paid attention to him ever since. In interviews, he is very humble, even self-deprecating, about his playing. But let me tell you -- I got to hear him just noodling around in my friend's living room, and holy moly can he play. Not flashy, but has total contrapuntal command of what he's doing.
Originally Posted by rpjazzguitar
Originally Posted by grahambop
Originally Posted by ragman1
Originally Posted by Ronstuff
Originally Posted by Triple_JazzLast edited by John A.; 06-14-2021 at 11:45 AM.
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Is that a thing, to call "Rhythm Changes" at a jam?
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My private teacher is soon to give me that lesson devoted to Rhythm Changes. Still working through "My Shinning Hour."
Mumblings abound on this take.
200bpm no accompaniment. Trying to build in the phrases. Need to be more explicit with the harmony, but never at the cost of melodic integrity and intent.
If there's a jazz standard or form that I find boring, it's usually an indicator that I'm the boring player and have certain holes in my own musicianship to address. For instance, I felt that "All Blues" was a boring tune for a while... Why isn't it boring when Cannonball plays it? Why isn't boring when Pat Martino or George Benson play it?
Again, the fault is with me. I am lightyears away from pro level playing. That said, music is communication for me--and I want to be able to articulate my musically with players of any level... at least that's my goal.
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I saw Herb Ellis do it in a packed club.
Turns to the local musicians hired to back him up, and says "rhythm changes". Herb played an original head.
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Originally Posted by mr. beaumont
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Originally Posted by John A.
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Don't worry about smiling John A., the shirt makes up for it.
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Originally Posted by rpjazzguitar
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I get excited when anyone listens to my stuff, but when vintage takes a listen I get extra psyched--a good day a JGF!
Vintage, always dug your lines--from the days of Willie Thomas to now. You've got bop in your bones and you sing out loud.
Speaking of singing, I was wondering how you internalize a tune and ideas thereof?
For me, I've created a playlist of 300 tunes based on rhythm changes on iTunes. I listen to that playlist on shuffle a little each day. Some great contrafacts based on that tune.
Second, I play the bass movement on the guitar. Then I add the third to each chord in the harmony.
Third, I sing the bass movement throughout the whole tune. Then I add the thirds on my guitar to each chord as I sing the roots.
Fourth, I sing the thirds while I play the roots on my guitar.
Fifth, I sing the Root and Third to each chord in the harmony.
The more I can sing and play, the more I internalize the sound of the tune. The less boring it all gets in the end.
So Vintage, anything else I missed. Should I revisit Willie Thomas (R.I.P.) ?
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Originally Posted by mr. beaumont
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Originally Posted by PickingMyEars
Thanks for the kind words man.
To your first question about internalizing a tune. I would say much of it comes down to my classical training. Time spent learning to sight sing, theory analyzation, etc. so when I learn a new tune I am pretty much always aware of if the melody is a do re mi/123, and how it relates to the underlying harmony. While I don't necessarily do the singing exercises you mentioned, a lot of that stuff is "baked in" from previous training.
As far as why do I sing when I play? It's the guaranteed way to make sure the music is coming from your brain, and not your fingers. It's equally important rhythmically as it is melodically. Keep in mind none of the stuff I post is usually ever intended to share. It's mostly just a result of me keeping a recorder on when I practice. If I am getting paid or recording, I would certainly make sure to either be quiet, or have my voice go unnoticed. I just advise doing it to guarantee that it's not your fingers that are making the music, but your mind.
Uncle Willy is the man, you can do much worse than to study his stuff, that's for sure. Take care!!!
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Originally Posted by Triple_Jazz
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If you get bored playing this form, learn more melodies.
I'd learn "Lo Joe" if you feel like your playing is stale. George Coleman would be a hell of a horn player to transcribe to guitar:
Angular, yes. But the way it's phrased...
And... it's in Db major.
Lester, meet Stitt:
How about one from Mr. Night Train himself, Jimmy Forrest?
Last edited by PickingMyEars; 06-14-2021 at 01:16 AM.
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Great thread this!
I played a RC tune and a Bach cantata at the same gig last week and discovered this:
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Originally Posted by mr. beaumont
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Rhythm changes is really in the category of "show off" or chops tunes, where you are supposed to be able to play that form in high tempos and burn through it. Like Giant steps, Cherokee, etc..
To be able to really sound musical over such a relatively complicated progression is another level of playing. As is what say Scofield does, where he can play countless choruses without ever sounding contrived or repeating himself.
I also like to see rhythm changes as an evolved blues form (which it is). So a combination of jazz lines and blues (Benson style) is my ideal improv over it.
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Originally Posted by Christian Miller
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Originally Posted by mr. beaumont
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I just can't understand why it wouldn't simply autocorrect to 'Mark Robot'.
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Originally Posted by Christian Miller
I tried 3 times on my phone right now to get "Ribot" to autocorrect to Robotech again and I couldn't get it to happen. No clue.
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What would Yoshimi say about Mr. Robotech?
evil jazz robot police? Mr. B, are you trying to tell us something...?
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Originally Posted by PickingMyEars
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Odd aside, I've seen the Flaming Lips live at least 10 times. Love 'em.
Let's see who I've missed...
Ron, great to see you back. Great swinging take, loose, little grit in the tone...might be my eyes making the association, but definitely a bit of a Sco vibe, which is never a bad thing in my opinion.
Picking, I decided to "play along" with you, since you were definitely taking the approach one would take if there was a band, and I like what I heard. The irregular phrases were rather speech like.
Peterson, at first I was like "No way," and then 10 seconds later I had a smile from ear to ear. Gonna need to hear more about this gig that involved RC and Bach, though!
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Originally Posted by John A.
Ibanez archtop with 0.010 Thomastik strings and...
Today, 05:27 AM in The Builder's Bench