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  1. #101

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    Quote Originally Posted by grahambop
    Very occasionally we are allocated enough sunshine here in the UK to actually swim in the sea. Here’s me getting solarised at West Wittering beach last week:

    Attachment 84559
    What a man! Mothers, bring your daughters inside!

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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    I am trying to think about this tune, for soloing, in terms of various tensions and resolutions. It's tempting to look at measures 3-6 and just think "Oh, F Major!" but it actually doesn't feel right. It feels like the Gm7/C7 is meant somehow to relate more to the Cm7 in mm 1-2, and the Fmaj7 seems to me to start a new idea, setting up the Fm7/Bb7/EbMaj7. Am I just making up problems here?

    Also... I have this irresistible urge to think of "Blue Bossa" and "Green Dolphin Street" when trying to solo over these changes. Drives me crazy (short trip).

    Finally... traditional heads that are short get played twice in jam sessions before the solos start. I hear some recordings of this where they just play the 12 bar head once and then launch into solos. What's the most common jam session practice on this tune?

  4. #103

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    Quote Originally Posted by lawson-stone
    I am trying to think about this tune, for soloing, in terms of various tensions and resolutions. It's tempting to look at measures 3-6 and just think "Oh, F Major!" but it actually doesn't feel right. It feels like the Gm7/C7 is meant somehow to relate more to the Cm7 in mm 1-2, and the Fmaj7 seems to me to start a new idea, setting up the Fm7/Bb7/EbMaj7. Am I just making up problems here?

    Also... I have this irresistible urge to think of "Blue Bossa" and "Green Dolphin Street" when trying to solo over these changes. Drives me crazy (short trip).

    Finally... traditional heads that are short get played twice in jam sessions before the solos start. I hear some recordings of this where they just play the 12 bar head once and then launch into solos. What's the most common jam session practice on this tune?
    In real jam sessions, the rhythm section imposes a fast tempo so as not to get bored.

  5. #104

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    Quote Originally Posted by lawson-stone
    What a man! Mothers, bring your daughters inside!
    lol thankyou Lawson! I think retirement has done me good, I’ve certainly got fitter and lost some weight.

  6. #105

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    Quote Originally Posted by lawson-stone
    I am trying to think about this tune, for soloing, in terms of various tensions and resolutions. It's tempting to look at measures 3-6 and just think "Oh, F Major!" but it actually doesn't feel right. It feels like the Gm7/C7 is meant somehow to relate more to the Cm7 in mm 1-2, and the Fmaj7 seems to me to start a new idea, setting up the Fm7/Bb7/EbMaj7. Am I just making up problems here?
    Bar 5 is pretty strongly Fmaj to me. I generally want to be pretty clearly on C7 by the last 2 beats of bar 4, but before that point I think one can kind of mix and match Gmin/G7#9 and Cmin/C7#9. So, yeah, you can play Cmin material pretty deep into the first 6 bars, and it's really a matter of taste how early you introduce the F maj ideas. The proof of the pudding is in the eating.

    Quote Originally Posted by lawson-stone
    Also... I have this irresistible urge to think of "Blue Bossa" and "Green Dolphin Street" when trying to solo over these changes. Drives me crazy (short trip).
    Better living through pharmacology. Just a thought ...

    Quote Originally Posted by lawson-stone
    Finally... traditional heads that are short get played twice in jam sessions before the solos start. I hear some recordings of this where they just play the 12 bar head once and then launch into solos. What's the most common jam session practice on this tune?
    I like to play it once straight, and a second time begin messing with it (e.g., shift the phrasing and/or add fills, and begin improvising in the last bar or the end of the second to last bar). It's not coming to mind right now how it's gone down at jams, but probably like that. Or be like Keith Jarret or Bill Evans and mess with it from the get go.

  7. #106

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    Quote Originally Posted by kris
    In real jam sessions, the rhythm section imposes a fast tempo so as not to get bored.
    Get bored with a good tune just because it's not fast enough? Poor musicians in my book...

  8. #107

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    Quote Originally Posted by TOMMO
    Get bored with a good tune just because it's not fast enough? Poor musicians in my book...
    This tune is played so often at jam sessions that the rhythm section gets boring.
    Playing the same chord over and over again can get boring.
    This does not apply to soloist musicians.

  9. #108

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    Quote Originally Posted by kris
    This tune is played so often at jam sessions that the rhythm section gets boring.
    Playing the same chord over and over again can get boring.
    This does not apply to soloist musicians.
    Hope they never join a blues band then.

  10. #109

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    Quote Originally Posted by kris
    This tune is played so often at jam sessions that the rhythm section gets boring.
    You mean the rhythm section gets bored I reckon....

    Quote Originally Posted by Peterson
    Hope they never join a blues band then.
    Amen!

  11. #110

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    Quote Originally Posted by TOMMO
    You mean the rhythm section gets bored I reckon....



    Amen!
    I know musicians who avoid playing three chords throughout the jam.
    They have to play it, but I have doubts if it is enjoyable.
    Hope we're talking about jazz jam - where emotions, positive energy and interesting improvisations are important, which draw the audience into communing with jazz.

  12. #111

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    Quote Originally Posted by kris
    I know musicians who avoid playing three chords throughout the jam.
    They have to play it, but I have doubts if it is enjoyable.
    Never ever call "So What" at a jam session if you don't want to the rhythm section to get bored, then,,,,

  13. #112

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    Quote Originally Posted by TOMMO
    Never ever call "So What" at a jam session if you don't want to the rhythm section to get bored, then,,,,
    haha,
    There is another problem with 'So What'.
    Sometimes I would play with a random jam section and get lost in song form.
    Two chords mean that, for example, the bass may shift or leave one of the parts of the form. You have to be vigilant. Either play your own or follow the bass ... misunderstandings can occur. f ex.On the basis of Dm, you play solo in Ebm.Be Carefull.
    Real jazz is a "team game".If you stay together, the effect is just right.

  14. #113

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    Give real jams a try ... it's a great experience.

  15. #114

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    Quote Originally Posted by kris
    Give real jams a try ... it's a great experience.
    I would if there were any in my neck of the woods....

  16. #115

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    First attempt at posting anything. Still a few bugs to iron out with the audio interface

  17. #116

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    Quote Originally Posted by Jazzism
    First attempt at posting anything. Still a few bugs to iron out with the audio interface
    Welcome! Well done!

  18. #117

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    Not sure if anyone has posted this duo recording by Sco and Abercrombie - I think they went a bit overboard on the delay/reverb, but it's a good version:


  19. #118

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    Quote Originally Posted by grahambop
    Not sure if anyone has posted this duo recording by Sco and Abercrombie - I think they went a bit overboard on the delay/reverb, but it's a good version:

    post #15 transcribed solo of John Scofield.
    Best
    Kris

  20. #119

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    Quote Originally Posted by Jazzism
    First attempt at posting anything. Still a few bugs to iron out with the audio interface
    Big challenge - solo over 7/4 Solar ...great sound and playing.

  21. #120

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    If i do a backing track for you folks to jam on, do i get a bit of advance warning about which tune will be #36,
    get to choose a standard myself, or maybe even come up with something of my own?
    i can certainly do the last thing outside of the normal JGBE framework, and have it be more of an open thing.
    Thoughts?

  22. #121

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    Quote Originally Posted by dogletnoir
    If i do a backing track for you folks to jam on, do i get a bit of advance warning about which tune will be #36,
    get to choose a standard myself, or maybe even come up with something of my own?
    i can certainly do the last thing outside of the normal JGBE framework, and have it be more of an open thing.
    Thoughts?
    Do you want to call the next tune? We are at the end of our rotation, anyway.

  23. #122

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    Decided to revisit this tune, but this time did it slower (about the same tempo as Miles' version).


  24. #123

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    Superb Graham!

  25. #124

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    Quote Originally Posted by TOMMO
    Superb Graham!
    Thanks! I thought I’d better do it a bit differently this time, or it might sound too much like the previous one. So doing it more slowly seemed like an obvious choice.

  26. #125

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    Finally found a minute to cut this one. At first I didn’t really like it, then it really grew on me.