Reply to Thread Bookmark Thread
Page 3 of 7 FirstFirst 12345 ... LastLast
Posts 51 to 75 of 161
  1. #51

    User Info Menu

    Ok, did some listening!

    Ron, love the feel. I like how your playing is certainly guitarists, but there's a hot of horn like articulation mixed in here too. You got big ears, it shows.

    Triple, loved the fleshed out chords and owning those octaves. Great sound for bass/guitar duo. Nice lines and forceful old school picking, totally helps the feel and phrasing.

    Rag, see, I did hear blues in that. One of your most in pocket posts...you're either getting better at the very difficult "self duet" or you were really feeling this one. Or both.

    Lawson, nice take! Laid back, swinging, clearly just "going for it" and creating good melodies and maintaining good time. Nice work.

    Rp, really nice variation in your phrase lengths, working different registers, and building on cool rhythmic motifs. Its clear what a fan of Brazilian music you are, it carries over into all you do. Never a bad thing.

    Kris, great blues feel, laying waaay back on those melody notes and pushing a hip feel against the more standard swing backing (with a few bits of straight FIRE) Reminded me of the way one of my favorite players, Bobby Broom, would handle this.

    Re: my playing....not as much transcription in a strict sense and just a lot of listening til I could literally sing a whole solo without picking up my guitar. Theres a few players I just "hear" well, and everything i do rhythmically is from them. The only guitar players are grant green and charlie Christian. Other instruments wise, a lot of Hawk, Bean, Jug and Paul Desmond. I like other players too, but those are the guys I hear and their rhythms just flat out make sense.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #52

    User Info Menu

    Quote Originally Posted by kris
    This is my Tele version of In A Mellow Tone.This time I focused on swing and phrasing.
    Best
    kris
    Box
    Pretty nasty!

  4. #53

    User Info Menu

    Quote Originally Posted by mr. beaumont
    Ok, ill throw one in. Trying to stay mellow...after all, the tune IS called...
    Very nice!

  5. #54

    User Info Menu

    Last take in a style of Ed Bickert on my hybrid Tele...
    Happy listening:
    Box

  6. #55

    User Info Menu

    Quote Originally Posted by kris
    Last take in a style of Ed Bickert on my hybrid Tele...
    Happy listening:
    Box
    Cool take, kris!

  7. #56

    User Info Menu

    I have enjoyed all your takes so far - hope there's a couple more coming. Here's mine. I probably could do a little better but in the spirit of thses threads this is my spontaneous improv:




    Any feedback welcome as always....

  8. #57

    User Info Menu

    Nice, Tommo. Coincidentally, I just did this. Well, I never said I couldn't play it as a blues... if that's what it is.


  9. #58

    User Info Menu

    Quote Originally Posted by ragman1
    Nice, Tommo. Coincidentally, I just did this. Well, I never said I couldn't play it as a blues... if that's what it is.

    Thanks! Never meant to say that it's blues but with a plethora of dom7 chords it leans toward the sound of urban blues. Nice take there - goes to show you can slip in a little country lick a la Jimmie Rogers as well....

  10. #59

    User Info Menu

    Quote Originally Posted by mr. beaumont;[URL="tel:1141745"
    1141745[/URL]]
    Re: my playing....not as much transcription in a strict sense and just a lot of listening til I could literally sing a whole solo without picking up my guitar. Theres a few players I just "hear" well, and everything i do rhythmically is from them. The only guitar players are grant green and charlie Christian. Other instruments wise, a lot of Hawk, Bean, Jug and Paul Desmond. I like other players too, but those are the guys I hear and their rhythms just flat out make sense.
    RP asked the exact same thing I was thinking and it turns out it all comes down to is listening !!
    Well it is a very important part. I’ve been listening to jazz for 25 years and I would say I’m a fan first and a player of jazz subsequent to that fact. Thing is when I listen, I get absorbed into the music and when the song is over I don’t remember what I heard. Some solos I could sing unaccompanied, like everything off of Kind of Blue from listening to it a million times, so I think there are two kinds of listening, close intentional listening and passive pleasurable listening. I’ll have to pay more attention to the solos, try to hear them in a new and different light. While I listen to all those artists you mentioned, for me it’s the piano I listen with the greatest pleasure and the most critical ear, but mimicking piano on guitar isn’t the easiest thing to do!

  11. #60

    User Info Menu

    Quote Originally Posted by TOMMO;[URL="tel:1141806"
    1141806[/URL]]I have enjoyed all your takes so far - hope there's a couple more coming. Here's mine. I probably could do a little better but in the spirit of thses threads this is my spontaneous improv:




    Any feedback welcome as always....
    This one was really fantastic maybe my favorite clip you’ve posted thus far!

  12. #61

    User Info Menu

    Quote Originally Posted by Triple_Jazz
    This one was really fantastic maybe my favorite clip you’ve posted thus far!
    Thank you for your kind words - much appreciated!

    As for listening: even casual listening helps in learning to play the music you're listening to. I think that I absorbed a lot of how to phrase by listening to blues all the time when I was in my salad days aspiring to be a blues player.

  13. #62

    User Info Menu

    Tommo -

    Jimmie Rodgers stole it from the blues guys :-)

  14. #63

    User Info Menu

    Quote Originally Posted by ragman1
    Tommo -

    Jimmie Rodgers stole it from the blues guys :-)
    And Howlin' Wolf retrieved it!

  15. #64

    User Info Menu

    Quote Originally Posted by TOMMO
    I have enjoyed all your takes so far - hope there's a couple more coming. Here's mine. I probably could do a little better but in the spirit of thses threads this is my spontaneous improv:




    Any feedback welcome as always....
    Hi Tommo,
    Long musical phrases and relaxed playing - this is it.
    These are big advantages in playing jazz improvisation.
    Congrats.
    Jazzingly
    kris

  16. #65

    User Info Menu

    Quote Originally Posted by kris
    Hi Tommo,
    Long musical phrases and relaxed playing - this is it.
    These are big advantages in playing jazz improvisation.
    Congrats.
    Jazzingly
    kris
    Thank you kris!

  17. #66

    User Info Menu

    A little late to the party ... I couldn't get to this until this morning between dealing with the aftermath of painting and getting ready for a trip to the one part of the northeast not sitting inside the eye of a hurricane ... Anyway, brought my GJ guitar with me, so that I can sound nothing at all like a GJ player



    Listening to the rest of you guys now.

  18. #67

    User Info Menu

    Quote Originally Posted by John A.
    A little late to the party ... I couldn't get to this until this morning between dealing with the aftermath of painting and getting ready for a trip to the one part of the northeast not sitting inside the eye of a hurricane ... Anyway, brought my GJ guitar with me, so that I can sound nothing at all like a GJ player



    Listening to the rest of you guys now.
    Now that's different if only for the use and tone of a Gypsy guitar. One minor critique if I may: too much use of vibrato on the long notes in the head - sounds a bit like Looney Tunes...

  19. #68

    User Info Menu

    Quote Originally Posted by TOMMO
    Now that's different if only for the use and tone of a Gypsy guitar. One minor critique if I may: too much use of vibrato on the long notes in the head - sounds a bit like Looney Tunes...
    That was my attempt at GJ and sounding like a cartoon. Good to know it was successful.

  20. #69

    User Info Menu

    Quote Originally Posted by John A.
    That was my attempt at GJ and sounding like a cartoon. Good to know it was successful.
    Why am I not surprised?

  21. #70

    User Info Menu

    Quote Originally Posted by John A.
    A little late to the party ... I couldn't get to this until this morning between dealing with the aftermath of painting and getting ready for a trip to the one part of the northeast not sitting inside the eye of a hurricane ... Anyway, brought my GJ guitar with me, so that I can sound nothing at all like a GJ player



    Listening to the rest of you guys now.
    Cool take with nice feel.

  22. #71

    User Info Menu

    Quote Originally Posted by John A.;[URL="tel:1141851"
    1141851[/URL]]A little late to the party ... I couldn't get to this until this morning between dealing with the aftermath of painting and getting ready for a trip to the one part of the northeast not sitting inside the eye of a hurricane ... Anyway, brought my GJ guitar with me, so that I can sound nothing at all like a GJ player



    Listening to the rest of you guys now.
    Killin’ on those double stops, loved it! Great command of the tune

  23. #72

    User Info Menu

    Quote Originally Posted by TOMMO
    I have enjoyed all your takes so far - hope there's a couple more coming. Here's mine. I probably could do a little better but in the spirit of thses threads this is my spontaneous improv:




    Any feedback welcome as always....
    Lots of good stuff there.

    I do have a comment though. One of the things I heard in a lesson on Brazilian music was a teacher tell a student, "you're not phrasing with the tamborim". If it was salsa music instead of "tamborim" it would have been "clave". That is, the distillation of the pulse of the music.

    There was a thread recently, which I don't think I appreciated fully, suggesting that swing music has the equivalent underlying "chop" (a pianist I know, when playing unfamiliar groove based music always asks "what's the chop?", which I think is an excellent way of putting it and an excellent question.

    Suppose, for this tune, we sang "/Hey bopa re bop ... / bopa re bop.../". "Hey" is on one. The first "bopa" is on two, the second bopa on 1 of the second bar. Last bop on and-of-2. Could we phrase with that and really nail the time?

    Xo xy xy oo / Xx xX oo oo / X is accented. x is not accented. y is a little accented. o is empty space.

    You could start by playing it and then start to embellish it, without losing the swing feel. I think this might be a useful exercise to improve time feel -- and I'm about to try it.

  24. #73

    User Info Menu

    Tommo, sounding good! Laid back, groovin...playing this tune right.

    John, cool take on the Selmac...proof they aren't really one trick ponies. I liked the vibrato, even!

    Re: clave... STRONG 2-3 on this one. STRONG.

  25. #74

    User Info Menu

    Quote Originally Posted by rpjazzguitar
    Lots of good stuff there.

    I do have a comment though. One of the things I heard in a lesson on Brazilian music was a teacher tell a student, "you're not phrasing with the tamborim". If it was salsa music instead of "tamborim" it would have been "clave". That is, the distillation of the pulse of the music.

    There was a thread recently, which I don't think I appreciated fully, suggesting that swing music has the equivalent underlying "chop" (a pianist I know, when playing unfamiliar groove based music always asks "what's the chop?", which I think is an excellent way of putting it and an excellent question.

    Suppose, for this tune, we sang "/Hey bopa re bop ... / bopa re bop.../". "Hey" is on one. The first "bopa" is on two, the second bopa on 1 of the second bar. Last bop on and-of-2. Could we phrase with that and really nail the time?

    Xo xy xy oo / Xx xX oo oo / X is accented. x is not accented. y is a little accented. o is empty space.

    You could start by playing it and then start to embellish it, without losing the swing feel. I think this might be a useful exercise to improve time feel -- and I'm about to try it.
    I do remember that thread - it was about "finding the clave in everything" and I think I have trouble to do so. Thanks for your comment - I will try some more.

    Quote Originally Posted by mr. beaumont
    Tommo, sounding good! Laid back, groovin...playing this tune right.
    Thank you Jeff!

  26. #75

    User Info Menu

    Ok, so I've listened to everyone's takes a couple of times, and I don't think I can say much that hasn't been said in terms of overall assessment. The only thing I'll add (and I think this applies to pretty much all the versions, including mine) is that Ellington/Strayhorn tunes are often tricky in a particular way.

    The melody and harmony taken separately make a lot less sense than when taken together. The extreme case is something like Lush Life, and IAMT is more straightforward than that. But if all you do is think about/arpeggiate the changes, it can sound a bit off.

    You can get away with that on, say, Autumn Leaves, but with IAMT, I think it makes a big difference if you keep the melody in mind as you solo. The weak spots in my own solo are where I didn't do that. I suggest listening back to your own (and playing it more whether you post more or not) with that idea in mind.