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  1. #26

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    Quote Originally Posted by John A.
    Here we go. Had to rock out on this one, too. Probably shouldn't have, but the fable of the frog and scorpion and all that.

    While I generally never like distortion (one of the things I came to jazz to get away from!) I still know how to listen for ideas, and you have some really good ones in this take. I'd love to hear you develop the solo without the distortion, on that juicy 77.

    Which is not a criticism, just saying I keep wanting to be able to hear the ideas better. But you like it, and that's what matters.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by lawson-stone
    While I generally never like distortion (one of the things I came to jazz to get away from!) I still know how to listen for ideas, and you have some really good ones in this take. I'd love to hear you develop the solo without the distortion, on that juicy 77.

    Which is not a criticism, just saying I keep wanting to be able to hear the ideas better. But you like it, and that's what matters.
    I get what you're saying, but I just happened to have been in the mood for a little crunch. This week, I went to two open jams and did a long standards session with a bassist and another guitarist, all with clean sounds. I was ready for something else a little less polite. If I have time, I have it in mind to do another Sister Sadie with a cleaner sound.

  4. #28

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    Quote Originally Posted by John A.
    I get what you're saying, but I just happened to have been in the mood for a little crunch. This week, I went to two open jams and did a long standards session with a bassist and another guitarist, all with clean sounds. I was ready for something else a little less polite. If I have time, I have it in mind to do another Sister Sadie with a cleaner sound.
    I get it. It's funny but I never associate ideas like "polite" or "impolite" with tone. They're just choices. Maybe in the 50's distortion connoted rebellion or something, but today, it's just one more tone choice that doesn't mean anything IMO. I didn't think 'not polite' but "I wish I could hear the notes against the chords better."

    For me, playing clean is rebellion!

  5. #29

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    Quote Originally Posted by wzpgsr
    Is that a side slip at the beginning—maybe second or third phrase that sounds a bit out then resolves down? I’ve never been able to make that sound good. Any suggestions?
    He might have missed that. He just side-slipped into a descending Ab7 arp - with a little chromatic join-up (which is what the chords for the melody do too).

    (G7) F/G B D (-)

    (Ab7) Eb C Ab G Gb

    (G7) F D

    (Try playing the vid at -0.5 speed)

  6. #30

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    Yep, rag caught it.

    I'm a very inside player. Pretty much everything outside you'll ever hear me do is purely visual, taking a sound I know would work inside and moving it somewhere where it won't.

  7. #31

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    Quote Originally Posted by mr. beaumont
    Yep, rag caught it.

    I'm a very inside player. Pretty much everything outside you'll ever hear me do is purely visual, taking a sound I know would work inside and moving it somewhere where it won't.
    Ah cool. I guess there’s a lot of half-step resolution stuff in jazz—example would be something like playing notes from the V7 “altered scale” resolving by half-step to the chord tones of the I chord.

    Tangential stream of consciousness....

    I’ve been realizing in a more fundamental way lately that approaching this shit from a theory first perspective is just so remarkably wrong. I’ve known that for a long time, but now I feel it. These virtual jams have proven that to me. With good ears, good time, and a few basic “structures” like triads and approach notes, you should be able to play a hell of a lot of “jazz.” Or when practicing just throw some random shit at the wall and resolve it. If it doesn’t work straight out of the chute, find some bit of it that does work and tweak it. I’ve been playing with things like AmM7 over CM7 and making it sound good (at least to me). But then also realizing that the same lick a half-step down (AbmM7) can *resolve* to C because G7 altered scale. Then I’m in this weird place of just playing by ear using notes from those two adjacent mM7 and that’s where, I think the magic of side slipping happens. The ear.

  8. #32

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    Quote Originally Posted by wzpgsr
    I’ve been realizing in a more fundamental way lately that approaching this shit from a theory first perspective is just so remarkably wrong.
    ... then forget about this shit and play...

    Who said it?


  9. #33

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    Actually... if you really want to hear what to play over all those G7 bars... try this scary stuff


  10. #34

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    I usually am not usually an outside player. But, with all that G7 and strong rhythmic background, it seemed like a good time to try to play all wrong notes. Usually I don't play F# over G7. This time I made a point to do it. I should have included a warning.
    Last edited by rpjazzguitar; 08-07-2021 at 03:40 AM.

  11. #35

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    Rags: definitely a a more buttoned down approach than I would take. We should go on the road and be the Rowan and Martin of jazz guitar or something.

    Little Jay: nice work there. I liked the second a lot, and tone of both guitars was really good.

    Tommo: Good one. Great flow and sense of groove. I like that choice of tempo, too.

    Jeff: be I hadn't thought of Bodhisattva playing this (hadn't thought much period, truth be told), but I'll take it. I heard a little of your inner Jerry the, which fits well. Great to hear you go a little longer, in too.

    RPJG: yeah, nice and spicy there! All kinds of outside and altered moves. The faster half was especially cool.

    Wzpgsr: there place for analysis on some tunes, but I don't think this tune is one of them. I think this one is about getting your gospel on (or some twisted version of that in so of our cases) and grooving.

  12. #36

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    Quote Originally Posted by John A.
    Wzpgsr: there place for analysis on some tunes, but I don't think this tune is one of them. I think this one is about getting your gospel on (or some twisted version of that in so of our cases) and grooving.
    Definitely. That was a little pre-vacation rant. I’m better now...

  13. #37

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    Quote Originally Posted by mr. beaumont
    First listens...

    TOMMO, great pick for you, and loved the way you played to what that track was giving you. Uptown. Nice!
    Thanks!

    Quote Originally Posted by rpjazzguitar
    I'm not a fan of longer periods of "outside" playing in general but what you did there sounds interesting and I enjoyed it it.

    Quote Originally Posted by John A.



    Tommo: Good one. Great flow and sense of groove. I like that choice of tempo, too.


    Thanks John. I had to speed up the original bt by 30% to get approximately to where I wanted it.

  14. #38

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    be the Rowan and Martin of jazz guitar or something
    Carry on like this and we will be!

    very interesting... but too acoustic

  15. #39

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    Joe Pass- he play a little different notes in the head.Second note-he play A.There are A# in the books.
    Section 'B" is also different:

  16. #40

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    Quote Originally Posted by rpjazzguitar


    I usually am not usually an outside player. But, with all that G7 and strong rhythmic background, it seemed like a good time to try to play all wrong notes. Usually I don't play F# over G7. This time I made a point to do it. I should have included a warning.
    Nice playing and great sound.
    I think the first note in the head is a syncopy...Perhaps there are versions without a syncopy.I am not sure.
    Best
    kris

  17. #41

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    Clean Tele sound...I love Telecasters.
    Sister Sadie- clean Tele sound

  18. #42

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    Ok, so here's a clean one. No hiding the clams and stumbles with sustain.


  19. #43

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    Quote Originally Posted by John A.
    Ok, so here's a clean one. No hiding the clams and stumbles with sustain.

    Cookin'!!! You put a much needed smile on my face, John! Have you tried to move back to 6th position after the e - bflat - g lick? There's some time to do that and to me it's easier to play the next phrases down there. May I ask where you got the backing track from? I couldn't find anything proper on the Toob so I purchased the one that I used which is OK but I could have done without the horns...

  20. #44

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    Quote Originally Posted by TOMMO
    Cookin'!!! You put a much needed smile on my face, John! Have you tried to move back to 6th position after the e - bflat - g lick? There's some time to do that and to me it's easier to play the next phrases down there. May I ask where you got the backing track from? I couldn't find anything proper on the Toob so I purchased the one that I used which is OK but I could have done without the horns...
    Thanks, Tommo. I used this backing track:



    To your question about positions, I didn't spend any time mapping the tune out or trying different positions, or even giving much thought to the changes and form. There probably are more efficient ways to play this tune, and I probably should be more methodical.

  21. #45

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    Quote Originally Posted by John A.
    Thanks, Tommo. I used this backing track:



    To your question about positions, I didn't spend any time mapping the tune out or trying different positions, or even giving much thought to the changes and form. There probably are more efficient ways to play this tune, and I probably should be more methodical.
    Seems like that one escaped me. Thanks.

  22. #46

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    Personally, my avoidance of the 32 bars of G7 between choruses at a medium pace is wholly deliberate. It's like some form of torture :-)

    16 twice in each chorus is bad enough

  23. #47

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    Quote Originally Posted by John A.
    Ok, so here's a clean one. No hiding the clams and stumbles with sustain.

    Hi John ,
    I think the first note in the head is after eighth pause...but maybe it doesn't matter .
    Nice playing
    Best
    Kris

  24. #48

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    Quote Originally Posted by kris
    Hi John ,
    I think the first note in the head is after eighth pause...but maybe it doesn't matter .
    Nice playing
    Best
    Kris
    You're right.

  25. #49

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    Kinda veers off into "Europe 1972" towards the end before I realized there's more changes for the last two minutes of the backing track. I thought this tune was gonna be a piece of cake, but it totally kicked my ass! At 175 bpm, this backing tracks smokes, but probably a bit past my ability to do anything but fly by the seat of my pants and get lucky once in a while.


  26. #50

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    Quote Originally Posted by wzpgsr
    Kinda veers off into "Europe 1972" towards the end before I realized there's more changes for the last two minutes of the backing track. I thought this tune was gonna be a piece of cake, but it totally kicked my ass! At 175 bpm, this backing tracks smokes, but probably a bit past my ability to do anything but fly by the seat of my pants and get lucky once in a while.

    Liked your phrasing on this one - very nice!