The Jazz Guitar Chord Dictionary
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  1. #1

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    You'll like this. Another one from wzpgsr.

    JGBE Virtual Jam (Round 66) - Round Midnight-tm-rm-xx-jpg

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Sorry, I've just realised I've posted this a day early. Never mind, we've all got extra time on it now

  4. #3

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    Aha! this tune was the first video I ever did.


  5. #4

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    I knew it would be look-in-the-vault-time for this one. I've got a few from 2016 but I'm not going to use them. Just as well, probably.

    Your vid's dated 2009, thirteen years ago. Lordy, lordy. Still pretty damn good even back then, Graham.

    (We're not really supposed to be doing this till Friday but I don't think they'll chuck us out the Union )
    Last edited by ragman1; 04-14-2022 at 08:35 AM.

  6. #5

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    Quote Originally Posted by grahambop
    Aha! this tune was the first video I ever did.

    Grahambop,
    You've raised the bar a lot on virtual jam.
    A very good video for your first video you ever did.
    It's not an easy jazz ballad, so I congratulate you more.
    To this day, I have a version of Miles Davis in my ears.
    I bought the Miles Davis vinyl record 'Round About Midnight' about 45 years ago.
    Kris

  7. #6

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    So it's off to an early start? Since it's the Easter weekend from tomorrow on that's fitting. Haven't participated for a while now but I have an older clip as well. This is from 2017 and was meant to demo my then new Eastman guitar:




  8. #7

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    Hello, Tommo. Guitar sounds great!

  9. #8

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    In the context of jams, this is an interesting call. IME, people avoid it at open jams because there is disagreement over both the changes and form. This is definitely one of the ones where there's a clear divide between people who learned tunes from original Real Book changes (which sort of match the Miles version, but not really any of the Monk versions) and people who learned via the oral tradition. Not a problem when there's time to come to consensus about how to play it beforehand, but can be a trainwreck if someone just calls "Round Midnight 1 - 2 - 3 - 4" Lots of people who think they know how to play this tune really do not. But here we're all rolling our own, so no need to worry about that kettle of fish.

  10. #9

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    Quote Originally Posted by John A.
    In the context of jams, this is an interesting call. IME, people avoid it at open jams because there is disagreement over both the changes and form. This is definitely one of the ones where there's a clear divide between people who learned tunes from original Real Book changes (which sort of match the Miles version, but not really any of the Monk versions) and people who learned via the oral tradition. Not a problem when there's time to come to consensus about how to play it beforehand, but can be a trainwreck if someone just calls "Round Midnight 1 - 2 - 3 - 4" Lots of people who think they know how to play this tune really do not. But here we're all rolling our own, so no need to worry about that kettle of fish.
    I think I read somewhere that Miles told Monk that Monk was playing Monk's own song incorrectly. I think if Miles wasn't Miles, Miles would call Miles a mothergrabber.
    Last edited by wzpgsr; 04-14-2022 at 11:45 AM.

  11. #10

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    Quote Originally Posted by John A.
    In the context of jams, this is an interesting call. IME, people avoid it at open jams because there is disagreement over both the changes and form. This is definitely one of the ones where there's a clear divide between people who learned tunes from original Real Book changes (which sort of match the Miles version, but not really any of the Monk versions) and people who learned via the oral tradition. Not a problem when there's time to come to consensus about how to play it beforehand, but can be a trainwreck if someone just calls "Round Midnight 1 - 2 - 3 - 4" Lots of people who think they know how to play this tune really do not. But here we're all rolling our own, so no need to worry about that kettle of fish.
    In fact, there are a lot of jazz standards that can be a problem at real jam sessions - it's mostly about chord changes.
    Versions from Real Book or versions from recordings or versions of Aebersold.
    One thing I know - playing ballads is not easy and 'Round Midnight' is not an easy tune.
    You can get tangled up very easily.

  12. #11

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    Quote Originally Posted by wzpgsr
    I think I read somewhere that Miles told Monk he was playing his (Monk's) own song incorrectly.
    According to various sources, he once walked up to Miles and said "are you still playing my tune wrong?"

  13. #12

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    Quote Originally Posted by wzpgsr
    I think I read somewhere that Miles told Monk he was playing his (Monk's) own song incorrectly.
    so why?
    bad chords,bad melody, bad mood?
    Coltrane played jazz solo on the studio version of Miles.
    Coltrane knew everything very well ...

  14. #13

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    Quote Originally Posted by John A.
    According to various sources, he once walked up to Miles and said "are you still playing my tune wrong?"
    Would that mean that the one based on Miles' version is wrong?

  15. #14

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    Hi !

    This is a thing I recorded in Summer 2015, you can see my lovely cat, she was 14 years old, I adopted her when she was 11.
    She passed away a month ago, she would have been 20 years old in April.
    Rest In Peace Pompon !


    I hope I will record something on the guitar.

  16. #15

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    Here's my first take on it -


  17. #16

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    Quote Originally Posted by kris
    In fact, there are a lot of jazz standards that can be a problem at real jam sessions - it's mostly about chord changes.
    For sure, for sure! Take Yardbird Suite, for example. The fakebook sheets all show the second bar to be Fm7 Bb7. But when I first heard it years ago, I thought I heard Abm9 Db7 on Parker's 1946 recording and that's how I've always played it except at jams and in other people's bands. And when I use "my" changes with my sidemen, they all love it. That '46 recording is still not completely clear to me 60+ years after I first heard it - and even slowing it down in Audacity, I'm still not sure what I hear!


    But most poeple play it as Fm9 Bb7 (or the equivalent transposition if played in another key, like Kenny Garret's below):




  18. #17

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    I have to say I’m not hearing Db7 there myself, but brothers and sisters means it’s a cool choice when soloing

  19. #18

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    Relearning RM at the moment. I played it like the Real Book for ages and then realised it was probably wrong and now I’m playing with better or at least more straightahead focussed people I wouldn’t want to call it for that reason (I could hear Monk played it a bit differently) - so you don’t want to play the tune wrong on one hand, but getting around to stuff can be slow.

    So it’s been out of my rep, rather ridiculously, for a while now.

    i plan to post my idea of how it goes in the next few days. Monk is my favourite atm.

    For me Monk’s music compels me to play it as close to the way did as I can, which isn’t true with standards etc necessarily. It’s like classical music to me. I wouldn’t learn from the Miles version as he was always messing up the chords to tunes lol. (OTOH Miles versions of tunes have become the standard in education etc…. I feel there’s a bit of a backlash to this lately.)
    Last edited by Christian Miller; 04-14-2022 at 02:57 PM.

  20. #19

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  21. #20

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    Quote Originally Posted by nevershouldhavesoldit
    For sure, for sure! Take Yardbird Suite, for example. The fakebook sheets all show the second bar to be Fm7 Bb7. But when I first heard it years ago, I thought I heard Abm9 Db7 on Parker's 1946 recording and that's how I've always played it except at jams and in other people's bands. And when I use "my" changes with my sidemen, they all love it. That '46 recording is still not completely clear to me 60+ years after I first heard it - and even slowing it down in Audacity, I'm still not sure what I hear!
    On that bar I hear the bass playing ascending notes F, Ab, Bb, B natural, then to C in the next bar. Also I hear the piano playing some kind of Bb triad (certainly the notes F and Bb).

    So I think Fm Bb7 is right, although your idea is a nice-sounding sub.

  22. #21

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    Quote Originally Posted by grahambop
    On that bar I hear the bass playing ascending notes F, Ab, Bb, B natural, then to C in the next bar. Also I hear the piano playing some kind of Bb triad (certainly the notes F and Bb).

    So I think Fm Bb7 is right, although your idea is a nice-sounding sub.
    I've always heard that Ab as the root of the Abm7 and the Bb as the 9th on that Abm as well as a perfect passing note to the B, which is then the bottom of the 3rd inversion of the Db7 that I hear. Maybe it's just wishful thinking

  23. #22

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    Tommo,

    Always loved your tone ( and playing ) on this one. What amp were you using? Was that before the changes you made to the Eastman?

    Regards,

    David

  24. #23

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    Quote Originally Posted by kris
    Would that mean that the one based on Miles' version is wrong?
    According to Monk, yes. According to Miles, no. According to me? If it sounds good it is good and if everybody in the band plays it the same way, it's right. If not everyone does, somebody's got some 'splainin' to do.

  25. #24

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  26. #25

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    Actually Monk composed about 70 tunes, that seems quite a lot to me!