The Jazz Guitar Chord Dictionary
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  1. #1

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    This one's from Triple_Jazz.

    JGBE Virtual Jam (Round 84) - Bag's Groove-milt-jackson-forum-jpg

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Nice blues from Triple. Hope he's okay - also his entire family because he said they all got it.

    It can be done any speed, any key, etc. Oscar Peterson does it really slowly but Milt Jackson whips it up a bit. Usually in F. Chart on request.

  4. #3

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    I might get us started on this one. Just banged it out tonight. Any old excuse to make odd noises over simple changes :-)


  5. #4

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    Hi. my short take.
    Inside, some changes from "Confirmation". Definitely for practice.


  6. #5

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    Good stuff, Rob, glad you're with us. Even more extreme than mine and without your banzai headgear :-)

    Thanks.

  7. #6

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    Since you good folks chose a Jazz Blues, I figured I would try to come up with something. Here it is. I had to cut off the second chorus that is normally played of the head.


  8. #7

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    Well done, Also. I was thinking about you when this came up because of previous conversations.

    It's not easy, the blues. People think it is, just three little dominant chords, etc, but it's not. It's easier to play 2-5's or 6-2-5-1-4's as in standards than navigate a blues effectively. And then there are the added complications when other chords are introduced to make a jazz blues.

    So good for you. It can only get better

  9. #8

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    What I like about these sort of tunes is that you can just enjoy them. It's a funny day today, sort of quiet. There's a lot of rain but the sun's trying to make itself felt.

    Anyway, I noodled away... You'll have to forgive me, it's slightly indulgent but I liked it.

    One thing I discovered. Instead of just going from G13 to E7#9, I popped in a Bm7b5 just before the E7. It sort of pretties it up a bit. I liked that, just discovered it.

    Question is, what will I do the rest of the day...?


  10. #9

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    Thanks for choosing a Blues song.

    In reading your comments, I think I am going to have to experiment with chords other than Dom 7. I will go and revise the BIAB backing track and see how it sounds.

    Right now, I just copied the real book chords.

    Take Care.

  11. #10

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    All right then, here’s mine. I did it in Bb rather than F just because I happened to have an organ/drums blues backing track that I like and it's in Bb. Anyway, fun tune. Let's hear some more of you guys.

    Last edited by John A.; 08-21-2022 at 10:06 AM.

  12. #11

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    I always get the same feeling about playing the blues, that it's incredibly hard to come up with something new, especially doing multiple choruses. That's not a criticism of your version, John, or anybody else's, quite the contrary. Personally, I think I probably compensate by putting in too much altered stuff.

    What do you think?

    The other thing I'm going to try is NOT starting with an 'E-shape', 6-string root chord. It's going to be Eb or something... and try not to make it sound like a country number :-)

  13. #12

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    Quote Originally Posted by ragman1
    I always get the same feeling about playing the blues, that it's incredibly hard to come up with something new, especially doing multiple choruses. That's not a criticism of your version, John, or anybody else's, quite the contrary. Personally, I think I probably compensate by putting in too much altered stuff.

    What do you think?
    I have a pretty big bag of tricks for blues and I don’t have trouble generating variety. But I do find that playing against a prerecorded track can lead to stiff playing and rhythmic ruts. It’s all much more interesting and creative with live accompanists and audience reaction.

    Quote Originally Posted by ragman1
    The other thing I'm going to try is NOT starting with an 'E-shape', 6-string root chord. It's going to be Eb or something... and try not to make it sound like a country number :-)
    I don’t really think in these terms. For me a solo almost always starts with having a motif in mind. I then have certain go-to moves for developing, filling space, inside/outside coloration, etc., plus a sense of the overall shape and direction, and the ability to kind of turn thought off and just blow. I’ve also played tons of straight-up blues blues in different electric and acoustic styles and add that stuff to taste. Chord shapes don’t really figure in my soloing.

  14. #13

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    Quote Originally Posted by John A.
    motif.. development.. inside/outside coloration.. I’ve also played tons of straight-up blues blues in different electric and acoustic styles and add that stuff to taste.
    It shows. I thought when listening that I liked your mix of jazz lines and straight up blues lines plus the overall development. The tension and release was pretty good where you'd load for example at 1:37 going to the 4 chord with some jazz harmony and fast rhythms then release it with blues language when you landed.
    Last edited by Jimmy Smith; 08-21-2022 at 11:08 AM.

  15. #14

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    Quote Originally Posted by John A.
    I have a pretty big bag of tricks for blues and I don’t have trouble generating variety. But I do find that playing against a prerecorded track can lead to stiff playing and rhythmic ruts. It’s all much more interesting and creative with live accompanists and audience reaction.
    Absolutely, done all that but we can't do it here.

    I don’t really think in these terms. For me a solo almost always starts with having a motif in mind. I then have certain go-to moves for developing, filling space, inside/outside coloration, etc., plus a sense of the overall shape and direction, and the ability to kind of turn thought off and just blow. I’ve also played tons of straight-up blues blues in different electric and acoustic styles and add that stuff to taste.
    I think what I meant was that, having played it a hundred times in F, a different starting point might be refreshing.

    Chord shapes don’t really figure in my soloing
    Nor mine if it's all based around, say, F blues and mixos but if I want to get more adventurous I admit having a shape in mind provides a sense of purpose :-)

  16. #15

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    Quote Originally Posted by ragman1
    I admit having a shape in mind provides a sense of purpose :-)
    Yep, you obviously have to figure out how to execute heard or intended ideas.

  17. #16

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    Quote Originally Posted by Jimmy Smith
    Yep, you obviously have to figure out how to execute heard or intended ideas.
    It's not the ideas; shapes are like the frets, they position you. I tend to make very few positional errors. Scales also have their patterns on the neck.

    I actually don't really believe people who say they don't need any visual aid at all. On a keyboard it's the two + three black notes. I don't know about saxophones but it may be the feel of the keys under the fingers, which is the same kind of thing.

  18. #17

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    Yes, the tactile process influences the creative process. Also vice versa, if you have an idea, either something you're hearing up or a concept you want to do, you have to figure out how to execute it technically. Having tools at your disposal and being able to associate them with what you're going for musically helps you realize a good solo or tune.

  19. #18

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    My laptop half broke so I can't record with daw or my delux usb mic for the laptop camera. I had to record with wack sound but wanted to participate anyway. Sorry for the sound and my slovenly appearance. I expect no likes. :P


  20. #19

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    1st take. Pretty bad, but I tried.



    The head was ok, and then it gets slightly better at around 1:17 to the end.

    Stream Bag's Groove by Charlie Parker Fan | Listen online for free on SoundCloud

  21. #20

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    I experimented with a a new thing this week: record a bunch of takes, pick one that sounds close to what I'd actually like to play, then transcribe it and shape the lines a bit, then learn it as an etude for a given set of changes.

    I did NOT play that memorized solo for the take I've posted below, but ideas from that work definitely made their way into my playing. I figure the lessons learned in transcribing myself should take hold in my long-term memory and playing better than transcribing someone else's solos because the original playing was mine to begin with—sort of a way to not waste the things that I "hear" while improvising but can't always execute in real-time. It seems like a beneficial way to build a mental map of a tune rather than just throwing caution to the wind all the time.

    Anyways, this is definitely an improvised take with a few thematic ideas that leaked in from my self-transcription earlier in the week:

    Last edited by wzpgsr; 08-21-2022 at 10:19 PM.

  22. #21

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    Rags - I liked the bit of reharm on your second take. I found a recording of this tune by Duke Pearson and he was doing some cool things with the harmony without straying too far from the blues path.


    Robespier - I admire how laid back you sound playing over what for me would be a pretty quick tempo. Swings!


    AlsoRan - I hear you hitting the changes and doing so with some freedom to choose between the major and minor blues sounds. Nice take.


    John A - I’m digging that chord work about 4/5 of the way through.


    Jimmy Smith - What I could hear sounded cool—get that laptop fixed!


    Charlie Parker - Lots of good ideas here and when you nail them in an authoritative way they sound great.

  23. #22

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    Quote Originally Posted by wzpgsr
    Jimmy Smith - What I could hear sounded cool—get that laptop fixed!
    Thx, you too.

    Rags' groove!

  24. #23

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    Jimmy Smith, Charlie Parker - I'm sorry you guys are having trouble with your quality. But the music all sounds good to me.

    wzpgsr - Great, swung along nicely.

    Rags' groove!
    Fame at last :-)

  25. #24

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    Quote Originally Posted by wzpgsr
    I experimented with a a new thing this week: record a bunch of takes, pick one that sounds close to what I'd actually like to play, then transcribe it and shape the lines a bit, then learn it as an etude for a given set of changes.

    I did NOT play that memorized solo for the take I've posted below, but ideas from that work definitely made their way into my playing. I figure the lessons learned in transcribing myself should take hold in my long-term memory and playing better than transcribing someone else's solos because the original playing was mine to begin with—sort of a way to not waste the things that I "hear" while improvising but can't always execute in real-time. It seems like a beneficial way to build a mental map of a tune rather than just throwing caution to the wind all the time.

    Anyways, this is definitely an improvised take with a few thematic ideas that leaked in from my self-transcription earlier in the week:

    Sounded awesome. Tone to die for, nice shape and variety in the solo. Really loved that chromatic riff in there.

  26. #25

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    I couldn't resist digging out the Roland synthesizer and playing some vibes on this one. I'm on bass and rhythm guitar, Mr Hydrogen is behind the traps, and I'm with Lester in my Milt Jackson costume. I figured a video was necessary to show that it was actually a guitar - the vibes patch in the Roland synth is one of their best sounds and very, very convincing in real life. I remounted the pickup to get it closer to the strings and lower the action, so the sensitivity is a bit too high now and I need to reduce it. When I pick up the pace, even a very faint signal from rubbing my fingertip over a fret triggers a note. So I had to keep it slow and simple - no flying mallets on this one