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Ronstuff has picked another current Jam session favorite. Great tune!
Last edited by mr. beaumont; 07-08-2021 at 05:11 PM.
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07-08-2021 03:38 PM
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Sounds like this is way beyond my ability....
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Nah, lots of F minor and some ii V's in the bridge.
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Yes: looking over the lead sheet I see. Will give it a try! :-) Thanks for the encouragement!
Originally Posted by mr. beaumont
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I'll kick us off...was actually working on this tune recently, then got sidetracked...so here's a typical very short Mr. B take, and I swear I'll challenge myself to play a longer one this week, because I really like this tune.
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Ok let's get this one started! I love Kenny Barron's playing, he's way up there on my favorite pianist list. I've listened to his live at Bradley's album soo many times! This tune has become a regular in jam sessions around town. I got my Guild out and it seems to have inspired a couple Wes influenced licks. Have fun with this one!
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Very nice one Jeff! Nice bounce in the feel, very lively! I though I would be the first to post, but I see you beat me to it by one minute Originally Posted by mr. beaumont
And I just noticed I left my tuner on the headstock...I guess that's a big no no! French titles seem to be en vogue.Last edited by Ronstuff; 07-08-2021 at 07:02 PM.
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Teach me! You're a badass guitar player. I feel like transcribing some of your solos. Originally Posted by mr. beaumont
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Yeah, thats some good stuff right there. Got a real shape to it. Originally Posted by Ronstuff
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Trying to get more into the spirit of the jam—less prep time, just run a bunch of choruses till I feel vaguely familiar with the form then hit record and let 'er rip. I gotta say, it feels liberating not to worry too much and just play. If I have time this week, I'd like to spend some time on the quick ii-Vs....I don't have a good handle on those yet, and will try to to post a video later in the week to see if I've made any progress.
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Mr. B and Ronstuff, you guys are both so nasty.
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Oh, well... Better to play something easier well than something difficult badly :-)
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Nice and relaxed!
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Wzpgsr, sounded like you were just getting into the groove when you cut it...looking forward to hearing more, I always dig your laid back, in pocket playing.
Rag, I was kind of thinking you'd do it as a bossa, and it works!
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I found this to be a pretty challenging tune. The melody of the bridge is hard to articulate at this tempo. The half step to F#m is hard to solo over without sounding like you simply moved your lick up a fret. It's hard to make a melody over the chromatic movement of the bridge.
So, that's all good. Learning experience. Goes along with my notion that, if you can handle the blows to your self-esteem, you can improve.
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Jeff, Ron, Wz -- all getting that classic jazz guitar style/sound out of it. Great work. (It's always bothered me that I don't hear that style in my head and therefore can't play it).
Rag makes another tune his own.
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Kenny Barron is my favorite jazz pianist.Fantastic solo:
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No choice :-) Originally Posted by rpjazzguitar
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Made a return Voyage. I run out of ideas on this one...more work to do...
Last edited by mr. beaumont; 07-10-2021 at 04:39 PM.
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Just back from a week in sunny LBI, or down the shore as Springsteen would say and I’m anxious to get started on this one. A tune I always liked to hear but haven’t tried yet.
Mr. B (the jazz coach) sounding fabulous as usual
Nice stuff from Ron and anyone who mouths off about tuners on the headstock are ridiculous.
Wzpgsr I agree with Jeff, as you warmed up it was going very nice and left me wanting more.
Rag had this in the bag
rpj looked like you were not happy paying over this one and I wasn’t getting the beauty I normally get from your cuts, but like you said it is hard!
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Rp, almost missed yours, glad Triple mentioned it.
You might not have been comfortable, but I like this take. You went for it. You didn't slow it down, or back off on 8th notes, nah, you went for it. And I always enjoy hearing that.
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Gave it another shot. I'm starting to know the tune more and wanted to float through it a little better.
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Great 2nd take Jeff, man that lick at around 1:00 whew!!!!!
Rp, that sounds alot better than you probaby think. We're often hard on ourselves. I dug it, you were navigating those changes!
Rag, you did it again...make any tune your own.
Wzpgrs, cool phrasing and yeah that bridge is tricky! I love that Charlie Christian pickup tone. Wonder if I could put one in my Guild?
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Thanks. I couldn't quite "feel" the chord changes. I'd need more repetition for that. So, I had to proceed another way. That was keeping my eyes on the chart to make sure I changed tonal center at the right moment, especially during the bridge. Apparently, reading makes me look uncomfortable. Good to know. Another reason to memorize the tunes. Originally Posted by mr. beaumont
To take this tune apart a little bit ...
Fm69 is F Ab C D G. That's also a rootless Bb13. Notes you probably don't want (meaning, you can use them, but the line needs to be strong enough) include the major 3, the b9 and the b7. So no A, no Gb and no Eb; call them avoid notes. Db is the #5, which changes the function of a minor chord, to my ear. That's 9 notes. E is probably going to sound good in a tonic Fm69. What's left? Bb and B. I'll take Bb as a passing tone and avoid B. That gives F G Ab Bb C D E. That's F melodic minor. Not a surprise, given that it's a tonic minor situation, but I always like thinking about the individual notes.
Next chord is F#m69. F# A C# D# G#. Obviously F#melmin will work. That's F# G# A B C# D# F.
What notes do Fmelmin and F#melmin have in common? F and Ab. So, one way through the harmony is to use F and Ab to bridge the half step movement. I've heard the notes-in-common be called "pivots". F#m69 is also a rootless B13. B13 is B D# F# A C# G# (maybe E as well?). Your B13 licks are likely to work, although you may want to be careful about the root. All your stuff on F#melmin is likely to work too.
So, those notes of F#melmin, or more narrowly rootless-B13, form a kind of harmonic background. That is, you sort of have the chord tones of F#m69 in the front of your mind and the other notes (that is, the notes which aren't in the chord but are in the tonal ceenter) in the back of your mind. It's like thinking about the chord first and the tonal center second. Of course, you don't have to think that way. Art might dictate the reverse, or something else. Think of this, not as art, but as a technique to minimize clams.
I hear an Ab to Gb movement from F#m69 to F7b9. (F A C Eb Gb).
Stated another way, F#m69 is sorta-kinda a B7 and so is F7b9. My idea is not to delineate every single note perfectly. Rather, it's to get in the ballpark and adjust the notes I don't like by ear. F7b9 is F A C Eb Gb. You can think of it as diminished harmony and use that stuff (which I won't go into here).
There is probably a way to think about the F#m69 which avoids that half-step higher cliche. Ideas?
Next 4 bars sound like a ii V Im, more or less. Watch the Ab vs A.
The bridge is just ii Vs in ascending halfsteps. For me, the challenge was hearing one bar of Dbmaj7 and then two bars each of the other tonal centers. I think it helps to sing the rhythm of the even numbered bars (the ones with the half notes).Last edited by rpjazzguitar; 07-10-2021 at 07:31 PM.
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You could! This one fits a standard humbucker route. Originally Posted by Ronstuff
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