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Here's a take with my bass player buddy. Old school audio only version. Recorded with a Gibson SG and an AER amp lined out to zoom recorder.
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10-31-2021 12:11 PM
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Originally Posted by John A.
till you look at it more closely...
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Jeff, great take. I definitely hear some of Philippe Catherine’s influence in your playing! Unlike mine, your version has great direction and lack of noodling!
John, I love that motif at around 1:35!! Great playing, really going for it!
Peterson, nice feel and I like how you get a lot going without moving around too much. Very efficient!
Ragman, as always very melodic and plenty of space.
Dogletnoir, for a 1st recording of the tune quite impressive! You’ll be flying over this one on the next one.
Triple Jazz, I really dig your interpretation of the melody. Great take just full of great lines that bounce.
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Cool takes from everyone this week. Didn’t have time to edit out my favorite chorus, so yer stuck with the whole dang thing:
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This might be of interest.
https://www.jmeshel.com/124-bill-evans-nardis/
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Originally Posted by wzpgsr
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Originally Posted by John A.
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I'ts not really questionable who wrote this tune though because Bill Evan's himself said that Miles wrote it for a recording session. Since he was there at the time, I think ya gotta go with that.
Bill Evans said in interviews that Blue in Green was him, but that Nardis was written by Miles. That's good enough for me.
It was actually quite common back in the golden era of jazz for the band leader to take credit for writing tunes that were actually written or co-written by one of the band members. So that would not have been the case only for Miles.
Also, it's worth mentioning that Miles grew up in the old segregated America. It was common practice in those times for white record producer's and even white musician's to go to the segregated black clubs and then steal their songs and release them themselves or with a white artist performing basically the same music they heard at the segregated black clubs. When not outright stealing their songs, it was also stealing their style and musical forms and then using them with white artists. That's the world Miles grew up in and all the black musician's at that time knew it was happening too. The music business was really shady back then and in segregated America black artists were often ripped off or taken advantage of.
In those days the black artists were often not paid the same as white artists or had to sign unfair record deals heavily slanted in favor of the record company. Being paid poorly with criminally poor publishing deals or having their publishing basically stolen outright were things happening to black musician's in those terrible times. Heck it happened to the Beatles so don't be naive enough to not believe it was regularly happening to black musician's, in all genres, back in segregated America.
That's the world Miles, being a musician from a young age, grew up in. Maybe that should be taken into consideration when this subject comes up?Last edited by James Haze; 11-02-2021 at 10:28 AM.
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We seem to have finished with this one :-)
Not me. It's probably the final blast but we'll see.
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Originally Posted by ragman1
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Yeah, time with guitar in hand has been very limited this week. Taking a few days off did help my finger, though.
I want to do one more round of listening today and leave some comments for you all. Great takes this week. This is a very, very fun tune...it can be as simple or as complex as you want it to be. Well, I guess they all can...
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Got to do some listening at lunch again today. I did that ting where I drive out to Calumet Fishery (located under the bridge the Blues Brothers jump) sit on my car, play music from inside, and I stare at a scene that's kind of ugly and industrial and kind of fascinating. But probably mostly because eating smoked fish in your car is a really bad idea.
I digress.
wzpgsr, I think one of your best posts, actually! You're just kind of going for it, but your time grooves and you play some really cool lines...and I love the chorused tone.
Ron, very cool playing, goes to space a bit harmonically, stretches out, but never loses your excellent sense of groove. Works really nice in the duo format.
Triple, cool to hear a hard swinging hard bop kind of version of this. Hope time allows you to participate more in the future.
Dogletnoir, 2 weeks in a row of hearing real improvement from your first take to second. I hope you're hearing that too...that's what I wanted these "jams" to be all about.
Is anybody else able to internalize a tune much quicker since participating in this?
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Originally Posted by James Haze
You should post a take, this is a fun group of nice peeps. I wish more people would post here (not that there's anything wrong with the folks who are posting, I'm just a "more the merrier" kinda guy)
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It's not going round and round...
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Originally Posted by mr. beaumont
Can't rush the brain.
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Originally Posted by ragman1
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Originally Posted by mr. beaumont
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Originally Posted by mr. beaumont
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Originally Posted by mr. beaumont
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I've had permission from the performer (you may recognize him) to post this. Enjoy.
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Originally Posted by ragman1
Cheers.
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Thought id sneak in a quickie
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I don't normally comment but I don't think you should use the same effect all the time. Put in amongst other stuff - chord stuff, octaves, and single note lines, etc - it's more effective, otherwise we get overkill. But your chordal playing over the head is really good, terrific.
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In before "closing time" - I didn't want to drop out again. So I finally had a chance to record something - first and only take:
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Originally Posted by Jazzism
TOMMO, keep at this one, there's merit in a bluesy approach, I think. Or maybe that's just me who plays blues on almost everything
Part 2 Secrets to McCoy Tyner using 4ths,...
Today, 07:31 PM in Improvisation