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  1. #1

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    The poll winner for Feb. is "Come Rain Or Come Shine and below you will find a backing Track and a PDF lead sheet included for download. The backing track is BIAB jazz ballad style with a 4-bar introduction, a 2-bar ending and 3 choruses. Enjoy!!

    wiz

    https://www.box.com/s/ktk6xgdoau2cqbzcl8zn ----> PDF lead sheet


    https://www.box.com/s/pzg7anz82vzd0vpqzffc ----> backing track.
    Last edited by wizard3739; 02-06-2013 at 02:07 PM.
    Howie

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Great ballad, here

    with Bucky Pizzarelli and Zoot Sims. I posted this one because there is only sax and guitar, and the guitar part is all in one side so you can hear how to comp with a soloist..

    Enjoy..

    Tom..
    Last edited by oilywrag; 02-06-2013 at 02:39 PM.

  4. #3

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    beautiful solo Tom! nice guitar from Bucky, too.

    wiz
    Howie

  5. #4

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    And Buddy Rich on drums...

    how sweet....

    days gone but not forgotten...

    time on the instrument

  6. #5

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    It's a tune I never liked much...I don't know why really...always sounded sort of "forced bluesy" or something when delivered by most singers...the melody also has some leaps I don't dig...

    I appreciate it a bit more now...harmonically there's some cool stuff happening...I always look for chromatics, so I made the beginning line an Fmaj7 to an Em9 to an Eb9#11 thing...I think I try something like that later, thinking of a few of the half diminished chords as minor 6'a up a m3....

    As far as improvising, this tunes chords seem to give most of the info I need...there's a few altered Dom sounds where I played some altered scale stuff, and there's plenty of spots on D minor sounds in e tune where the blues scale is a great sound.

    im not going to say I love this one, as I can still picture a teenage girl straining her way through it in a fake rough voice, but I will add it to my rep...I think there's more places to take these chords still...
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  7. #6

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    Hey, Jeff. You're really good. You can make an arrangement and you can improvise. I guess this "read through" wasn't your first attempt at this, or was it? You're reading PDF provided by Wiz, right?

    Hold your breath, questions will keep coming in this post.

    I stil sruggle reading that basic single line melody, but I really want o read it, not to learn it and play it from memory. i'm very bad at reading music. Also, half the chords I 'll have to figure out the grips, and you're changing and at will with ease. Hopefully, some day ...

    If you'd please, what exactly do you play at bar 2 (or 6, if we count the intro), chords above are written as E-11 A7? Guess that's what you refer to as "Em9 to an Eb9#11"?
    Sound' like x7x775 x6x665, but ther's no A(5 on 1st) in em9?
    If you played as written, how would you play E-11 A7?

    Thank you.
    Last edited by Vladan; 02-17-2013 at 08:42 PM.
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  8. #7

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    Vladan, I was wrong on that chord, it was an Em11 with the A on top...the Eb9#11 is an A7alt tritone sub...I used a chart in an old fakebook I have, but I changed a lot as I went...I never play as written unless the situation really calls for it. Chord names are a suggestion only.I would probably never play an A7 after any kind of Em chord, that says ii V to me and I want tension on the V.

    I don't think my reading is too great, but I do know my chords and I can identify a single note line pretty well...But also, I've played this song before but not as a solo arrangement...so I wasn't completely unfamiliar with the tune.

    Chords are something I've spent a lot of time on. They've taught me more than any book, video, whatever...they're the code to crack...I look for new ways to grab chords all the time.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  9. #8

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    Here are my takes: Like Jeff, I never liked this tune much, and never bothered to learn it, but I like the exercise of learning one new tune a month, so I spent an hour trying to internalize the chords, then recorded these two takes... (excuse the sloppiness/dropped beats, I'll probably remove these before too long.)

    A solo chord-melody

    SoundClick artist: Paul Kirk - page with MP3 music downloads


    and single note/backing myself in 5.

    SoundClick artist: Paul Kirk - page with MP3 music downloads

  10. #9

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    Quote Originally Posted by oilywrag View Post
    Great ballad, here

    with Bucky Pizzarelli and Zoot Sims. I posted this one because there is only sax and guitar, and the guitar part is all in one side so you can hear how to comp with a soloist..

    Enjoy..

    Tom..

    Thank you for that! I just ordered the album from which I believe it came:



    Zoot Sims, Bucky Pizzarelli, Buddy Rich, Milt Hinton - not the sort of ensemble you run across every day.
    Find your passion and be hardcore about it.
    (Hey, if you like the avatar, check out the art work of John Howe)

  11. #10

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    Quote Originally Posted by mr. beaumont View Post
    Vladan, I was wrong on that chord, it was an Em11 with the A on top...the Eb9#11 is an A7alt tritone sub...

    ... Chords are something I've spent a lot of time on. They've taught me more than any book, video, whatever...they're the code to crack...I look for new ways to grab chords all the time.
    I was not looking for mistakes, I just wondered is it some kind of Jazz nomenclature, to play e(m)9, play a chord over some melody, and not to mention melody note in the chord.
    I thought I was good in chords, before turned into jazz stuff. In tunes I'm used to play, I always have enough time to think: "13, ah same as six, if I grab it like that, pinky goes there, if I grab it like that, it's easier, but may be to high, ...,"
    and to come in time with decision. This is completely different territory.

    Back to questions.

    When I play melody as written in Wiz's ,pdf, over his BIAB mp3, I have at least 2 "ear" problems.

    1. Eb note over am7b5 and Adim. I don't know why. Both chords have the note, for 5th(b), but somehow it sounds nasty to me. Maybe guitar is out of tune, but tuner says it is not.

    2. D note over am7, 8th row. You may say my ears are not developed enough, but I have to force my self to play it.
    I think it's because It goes for too long. I have no problem with D over am7 as a short first note of Fever, coming after imaginary, ommited, first note (would be A, or C).

    What am I to do?
    Last edited by Vladan; 02-18-2013 at 07:41 AM.
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  12. #11

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    Hey Vladan- My guess is that its the forced "blue notes" that are bothering you.

    for 1: You mean bar14-15 (of the form)? probably after the Bm7b5 E7b9 your ear expected an Ami7
    rather than Am7b5, I hear that Eb as a "blue note", maybe try bending down from an E to an Eb?
    (or bending the Eb up to an E) and leave out the b5 in the harmony?

    for2: play D7 for those two bars until you hear it, then add the Ami7 in the first to set up a little tension/resolution there. It's fairly common (As you surely know) to replace a dominant V chord with the II-V, so when the melody is the root of the V, you'll get an IIm11. Try a Eb7#11 there instead. Also The A7 in the preceding bar sets up the Am7: focus on the 3rd (C# to C): that "major3 to minor3" change is also a blues thing.

  13. #12

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    Thank you pkirk,

    I think I've nailed my problem, but first ...

    For 1. yes, that's the place. And yes, in my mind I heard it bent, but it did not help in reality, but I'll try again. Maybe I was tired, or something. And of course, I could not remove it from the harmony, since harmony is already recorded.
    This begs a question, what would be reaction of average listener who's ears are even less developed than mine, or we count on they don't hear anything anyway?

    For 2, Seams I have a problem with 11 in minor chord, unless it's the top note. If I play melody octave higher, the problem is gone. I played that D on 3rd 7th fret. On 1st 10th fret it sounds quite OK.
    Similar it was with em11 in 2nd bar. If I was playing it as 7th fret on 4th string, but then I saw Mr. Beaumont playing that A on the top, and it was OK.
    So conclusion (hit on the nail on my finger) is, I disregarded the fact that in order for guitar to sound "as written", I should play an octave higher. That's what you get when your reading is really bad.

    Maybe it will help for 1. too. I'll give it a try when I get to the guitar, later today.
    Last edited by Vladan; 02-18-2013 at 10:41 AM.
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  14. #13

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    Quote Originally Posted by Vladan View Post
    I was not looking for mistakes, I just wondered is it some kind of Jazz nomenclature, to play e(m)9, play a chord over some melody, and not to mention melody note in the chord.?
    No problem, I didn't think you were trying to point out mistakes...

    The thing is, I don't really think about "as written," or full complex chord names with all extensions...I think pretty much major, minor, dominant, half-diminished...anything else is just melody on top of the chord...

    Certain chords are triggers for me as far as improvisation goes...certain extensions call for certain things...so I might call a lot of dominants just plain "alt" meaning if I'm playing a 9 or a 5 it's going to be altered, but a chord like a 7#11 is a little more specific and if the chart bothered to write it I'm assuming that sound is wanted, or at the very least that the melody note is the #11...when improvising then, I might think about Lydian Dominant or grabbing the chord notes that give me that sound...
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  15. #14

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    OK, this will be my input for this month. It may sound strange to some of you, I have tried some new things (for me) on this one. I tried some octave phrases (not too good at these), and messed around with the time a la Jimmy Raney thoughts. I tried to use some of the material from the "Line Games" book and basically played by ear on this one. I used only BIAB bass and drums to get a trio sound without any chords. I'm still not playing chords very well (left hand is still healing).

    wiz

    https://www.box.com/s/kg59wwzpw0x2kfxtzavpt
    Last edited by wizard3739; 02-19-2013 at 02:42 AM.
    Howie

  16. #15

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    Wiz: nice and relaxed, super tone, and you refer to the melody a few times to keep it grounded. I felt like I wanted you to address the dominant chords a bit more, sit on those thirds and altered tones to build a little melodic tension every now and then.

  17. #16

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    Thanks Pkirk, this one was hard for me. I appreciate your helpful comments.
    Howie

  18. #17

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    Back to questions.

    [/QUOTE]
    When I play melody as written in Wiz's ,pdf, over his BIAB mp3, I have at least 2 "ear" problems.

    What am I to do?[/QUOTE]


    Please bear in mind most musicians consider lead sheets to be, at best, guidelines to use as a starting place for your analysis and playing of the song. There are many other interpretations of all songs, the chords and melodies on the lead sheets I arrange for the forum backing tracks are in that category. IMHO, the best way to solve your "ear" problems is to listen and transpose the tunes you may have a problem with. This approach "goes with the territory", especially when learning about jazz.

    wiz
    Last edited by wizard3739; 02-19-2013 at 09:26 PM.
    Howie

  19. #18

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    ....

    Hey Mr B, nice playin, I recognize your playing... very nice

    Paul...dig the modal harmonic like approaches, target tonality, way cool. I personally dig all the anticipations... sometimes having sectional... or target contrast, non-anticipation rhythmic feel... gives the style more effect. Personally I dig style and your playing . I though the duo version was going into Donna lee for a second at start... nice playing.

    Wiz... as always great playing. Great swinin blue groove feel, very Basie like. Great use of melody... maybe develop the Blues harmony of melody... cool way to create melodic relationships and still be tied to melody or transition to something different, Not needed, solo was already cool...


    I have a BS gig today but have night off... I'll make a playing analysis of tune and try and talk/play about possible approaches tonight.

    Reg

  20. #19

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    Quote Originally Posted by Reg View Post
    ....

    Paul...dig the modal harmonic like approaches, target tonality, way cool. I personally dig all the anticipations... sometimes having sectional... or target contrast, non-anticipation rhythmic feel... gives the style more effect. Personally I dig style and your playing . I though the duo version was going into Donna lee for a second at start... nice playing.

    Reg
    Thanks Reg. Maybe you could expand on "sectional... or target contrast, non-anticipation rhythmic feel". I think you are politely telling me to try to include more of this (or maybe less?), and I'd love to, if I knew what you meant!. I know that I sometimes throw in too many "sweep"-type licks which get to their target before the beat does ( there's the old maj7 arpeggio I overuse because it sits so easily on the fretboard.)

    Anyway looking forward to your analysis.

  21. #20

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    Quote Originally Posted by wizard3739 View Post
    OK, this will be my input for this month. It may sound strange to some of you, I have tried some new things (for me) on this one. I tried some octave phrases (not too good at these), and messed around with the time a la Jimmy Raney thoughts. I tried to use some of the material from the "Line Games" book and basically played by ear on this one. I used only BIAB bass and drums to get a trio sound without any chords. I'm still not playing chords very well (left hand is still healing).

    wiz

    https://www.box.com/s/kg59wwzpw0x2kfxtzavpt

    Nice clean tone and very tasteful.
    Guy
    “I will not let anyone walk through my mind with their dirty feet.”
    ― Mahatma Gandhi

  22. #21

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    I've tried to update the original song, by changing the chords and shortening the melody to 16bars:

    Chords:
    | FMaj9 | Em9 A7#5 | Dm9 | Dm9 |
    | FMaj9 | Em9 A7#5 | Dm9 | Dm9 |
    | Fsus7 | BbMaj9 | Fsus7 | BbMaj9 |
    | Amin9 | Abmin9 | Gmin9 | Gmin9 |

    Basically, I'm using F Major Modes or just F Major for the bars 1-4 and 5-8.
    I use F Mixolydian on bars 9-12, trying to put an emphasis on the Bb note.
    Bars 13-16 I play just minor arps.
    Last edited by Dirk; 01-11-2019 at 04:04 PM.
    “I will not let anyone walk through my mind with their dirty feet.”
    ― Mahatma Gandhi

  23. #22

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    Quote Originally Posted by pkirk View Post
    Thanks Reg. Maybe you could expand on "sectional... or target contrast, non-anticipation rhythmic feel". I think you are politely telling me to try to include more of this (or maybe less?), and I'd love to, if I knew what you meant!. I know that I sometimes throw in too many "sweep"-type licks which get to their target before the beat does ( there's the old maj7 arpeggio I overuse because it sits so easily on the fretboard.)

    Anyway looking forward to your analysis.
    Hey Paul... Comments are not a dish in any way. Strictly talking about the rhythmic feel. Which, like I said, I dig. If you listen to the majority of your attack locations... generally they are on the up beat, more specifically they're anticipations. ( there is a difference between 1 + as compared to + 2) There are up beats on 16th notes as well as whole notes. I didn't chart it out... and will listen again to try and better describe.

    By sectional or target I'm referring to have organized locations of usage...Example could be make 1st two bars syncopated then relax bars 3 and 4... or what ever organized pattern you like. Totally not required... but when used, sometimes helps create more contrast between sections. Can also draw more attention to a rhythmic feel... Somewhat a very mechanical method to help create another level of interest for a performance. The organized usage doesn't really need to be in relationship with melodic or harmonic content, but can. Just for the record...All my licks are overused. Again nice playing...

    Hey Guy... always cool arrangements...

  24. #23

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    Quote Originally Posted by Reg View Post
    ....

    Hey Mr B, nice playin, I recognize your playing... very nice

    Paul...dig the modal harmonic like approaches, target tonality, way cool. I personally dig all the anticipations... sometimes having sectional... or target contrast, non-anticipation rhythmic feel... gives the style more effect. Personally I dig style and your playing . I though the duo version was going into Donna lee for a second at start... nice playing.

    Wiz... as always great playing. Great swinin blue groove feel, very Basie like. Great use of melody... maybe develop the Blues harmony of melody... cool way to create melodic relationships and still be tied to melody or transition to something different, Not needed, solo was already cool...


    I have a BS gig today but have night off... I'll make a playing analysis of tune and try and talk/play about possible approaches tonight.

    Reg
    Thanks Reg, I always enjoy and appreciate your comments. Good idea to try to develop the Blues harmony of melody...

    wiz
    Howie

  25. #24

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    Hey All... here is a playing... somewhat playing example of CROCS. This is not a showcase... it's very rough but you can easily hear the approach... blues, that I tried to use. I apologize for not rehearsing...

    The tune goes between F and relative min.... D-. The IV- chord is usually from parallel Minor, F-. I tried to use the dom 7th as target V7's as compared to V of something. In the style of jazz/blues harmonic style. Tried to keep harmonically very straight and heavy swing feel... way behind the beat. Should have used drum machine. I'm lazy.

    The #IV-7b5 could be part of II V of III, and could also be sub of II7... both approaches are cool. When used as sub of II7 or G7, becomes a I VI II V, (G7 E7 A- D7), both are very blue...


  26. #25

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    Good one for good morning (itwas 0830 here, when I started listening).

    Now I have to rethink if to post what I've recorded .
    (Audio is already finished, for couple of days, it'll go with my POV driving video for February,
    which is still not finished, but in a day, or two ...)
    Firstly, because this what Reg did is way better than what I've done.
    Secondly, because I used one, or two of presented ideas, so can not claim originality to compensate for skill.
    Time to say - D'oh
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  27. #26

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    Sorry for a long post, but I have nothing else to do at the moment.
    (Jazzy part is after 2:20 in the video)

    First to say, I've never heard this song before this thread. I've entered search on Youtube, the first result was Ray Charles. It had no resemblence to PDF and mp3 provided by Wizard, as far as I'm concerned. The next hit was some girl from a talent show, not worth further word on it.

    So, I decided to stick to the letter, but being rather ignorant in reading music, I could not make much sense of PDF either.

    I went to that mp3 (it's tempo is 85bpm, while on PDF it says 90). I could do quite a lot of dmin related soloing over it, but was not satisfied, at all.

    What could I do? I said to my self, "Let's do it as if I've came up with this melody, how would I harmonize it for my pop/ rock band?". That idea yelded the first part of a recording.

    First thingd first. Tempo. I made it 120bpm. At 85 I could play comfortable 16ths. At 120 I have to take care about 8ths, but I like it better, still.

    Intro - I won't explain, you'll hear it, all I can say it's quite close to the letter of the mentioned PDF fie.
    - Chords in 1st 4 bars could be heard as similar to "Sitting on a dock...",
    - then it goes into something pop, I think,
    - then the kind of "response" part of a rock/ blues (from IV) with new wave turnarround,
    - ther's repetition with that G E7 A7 D7 part Reg mentioned (actually he said A-, but close enough) for second 4 bars. I promiss I did it before I heard his analysis.
    - For the end it's new wave again, at least that's how I see it.
    There are two choruses of it, one with melody as I read it, the other is a solo, with a quote from a local children song "A crow yelled, jumping in a field..."

    After I finaly understood the song, in a way, I got back to PDF, and tried to figure grips that would hold to the letter, but be such to suit the song as if it wasn't a cover, but my own. I came up with something not really chord melody like, but I think it can stand on it's own. Ther's one bar of Satisfaction quote, but it's still really really close to the letter of PDF file.
    There are 3 choruses. The 1st is just chords. The 2nd is with melody over it. The 3rd is with some soloing. I 'm not really satisfied with that solo, i think there are some false notes, but hey, I'll call them "out" and close crticist's mouths.

    And here's the redcording:
    Last edited by Vladan; 02-25-2013 at 10:30 PM.
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  28. #27

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    IMHO, what it sounded like to me was a rock player trying to play an old standard in a rock style with distortion. If that style was your intent, you did it OK, but if your intent was jazz, it didn't work. As a suggestion, you could spend more time listening to the same song played by some of the old jazz masters to get the feel and rhythm for a jazz sound. I hope these comments are helpful to you.

    wiz
    Howie

  29. #28

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    Did you listen after 2:20? It's explained above. There are 2 completely different versions. Even in distorted version, solo in the second chorus, is not distorted, and may sound jazzy to some ears.
    Last edited by Vladan; 02-25-2013 at 11:09 PM.
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  30. #29

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    @Vladan

    Somewhat along the lines of wiz's post, I think the important thing is whether it worked for you. It did not work well for me, and I will try to be clear about why.

    When I hear an instrumental rendition of a standard, I always have the lyrics in mind as well as the general emotional tone of the tune. So ask myself "Does the instrumental treatment support the lyrics and emotional tone of the tune?" Based on my personal background and listening experience, the straight eighths and general rockabilly feel until about 2:30 were more out-of-place than I was willing to accept. The distortion per se did not bother me as much, but it did not add anything either.

    Other than that, and somewhat on the positive side, I noticed an interesting change of treatment at about 2:30 and another change at about 4:30. I still did not relate these styles to Come Rain or Come Shine, but they were more interesting to me in their own right than the beginning.

    Finally, please remember that this post is as much about my tastes and what I am open to accepting as it is about your playing, and of course, I hope it helps.
    Find your passion and be hardcore about it.
    (Hey, if you like the avatar, check out the art work of John Howe)

  31. #30

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    I actually liked the rock treatment...but those unison bends gotta be a little more in tune for my ears.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  32. #31

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    Spoon, I understand you. You can read in my post why is it so.

    Mr B., I guess you mean at the very begining? If so, that's leftover of a earsed take that accidentaly managed into final version, but sounded to cool to remove it. In the old days when tape multitrack was a norm, it happened quite frequently. I agree it should be played bette for real recording, but again, this is just kind of "pay attention" trick.
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  33. #32

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    hey Vladan...

    The style might not be my thing... but I kept listening, I was very interested to see where you were going, musically and with vid. Generally I can tell where somethings going in a few bars...

    It seem to work, looks and sounds like a lot of time put into project.

    The 2nd version... you do well with implying harmony with your improve.

    So sounds like you don't read well and you don't know many jazz standards... yet you still post example of monthly tune. Gots to give you a lot of credit... keep it up. Is there anything you want me to listen for?

    Both you and Guy put out very cool finished products, again keep it up...

    Reg

  34. #33

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    First to say, Thank you Reg.

    You are just about right - I do not know any jazz standards. Except, about 2 weeks ago I made my rendition of My Funny Valentine, it's there in Showcase, aswell as on my Youtube channel. It's the only video where you can actually see me playing. If you happen to arrive there, maybe you could take some time to read notes about the process.
    I did veresions of "I can't help falling in love with you" and "L'ete indienne", it's not jazz but there is some resemblance.
    I covered some local pop rock songs, aswell as Roxy Music and The Beatless, all in versions very far away from originals.
    It's all there on my channel.

    My goal is not to learn too many standards, but to improve knoweledge and grasp the way Jazzers think and work, so I could apply it to my own thing. However, learning an odd standard, or few, along the way may grow from practical bonus into affection, one can never know.

    I took this song to see if I can do it, how long it will take me, ... Funny Valentine was much easier, becasuse I knew the tune, so I could relate to various versions. This one, I've never heard before in my 45yr life, believe it or not.

    Re Jazz standards, my general itention is to do Summertime, Don't blame me, Armando's Rhumba, Black Orpheus, maybe Blue Moon and Autumn Leaves (but those last two are "very very maybe"). Cantaloope, and that other groovy one, I can't recall the title of right now. Maybe even Birdland.

    I think I'll do Crazy Fingers from Gratefull Dead, too.

    I'll see wher it all will lead me.
    Last edited by Vladan; 02-26-2013 at 11:33 AM.
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  35. #34

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    Hey Vladan... cool, I checked out your channel, nice.

    Keep us informed of where your going etc... I'll gladly answer any ?... I am a jazz player, understand most jazz concepts and approaches...

    Reg

  36. #35

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    Reg, I'm very much aware of your presence. I think I'm subscribed to your channel, maybe from a different acount than this one you've visited.

    Your style of writing may appear rather cryptyc to "us" non native speakers, but as much as I can understand, it resonates well with my own thoughts (like G E A D from couple posts above). You're verbal explanations are too fast for me to follow with ease and understand fully, but ther's always something I manage to grasp, so ... I'm learning. Thanks again.
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  37. #36

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    I think the retro rock thing is very much Vladan's wheelhouse, and I think he's being very true to himself...even the jazzier section of his version swung more like a Chicago blues band than a jazz quartet--and that's cool--it's a tired old song...time to do something new with it.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  38. #37

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    Hi Wiz, really liked your take, nice pace and great effect on your delayed timing - really like your tone too.

    I've always felt this to be deceptive tune - the melody is more monotonic than one note samba but there's so much harmonic potential.

    cheers
    Pat

  39. #38

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    Thanks Pat, I appreciate your comments.

    wiz
    Howie

  40. #39

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    Hi,
    There is my short version of "Come Rain or Shine".
    I've recorded it today.I've tested my new tube amp head MV3h.
    I played my Tele with Sadowsky Pure Nickel strings/11"-50"/.
    I think you like my sound on pure tube amp.
    All The Best
    kris
    https://www.box.com/s/b5hcw75x8iem70t7cmza

  41. #40

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    Hey Kris... beautiful tone and playing. Would be cool if you talked about your playing... harmonically or how ever you hear your approach. I like it very much, dig your rhythmic motifs ... again nice.

    Reg

  42. #41

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    Hi Reg,
    I appreciate your comments.
    About my playing:
    I do not use any pick.May be the sound is a little warmer because of my fingerstyle.
    I like to control chords /voicing/ without a pick-similar to classical technique/I mean classical guitar/.
    I practised longtime a lot of Pat Martino "minor thinking" lines/Linear Expressions/ and transcribed many solos of John Scofield.
    I practised every day tunes like Lazy Bird or All The Things You Are in different tempos using Pat or John lines.I try to adopt them to my style.After that I try to play my own lines what I hear in my head.
    I like to hear all great jazz CD's.
    Anyway...Reg I like very much your pure jazz sound on Guild and appreciate your great technique.
    Thanks
    Kris
    Last edited by kris; 02-27-2013 at 12:00 PM.

  43. #42

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    Good one Kris.

    You've reminded me, I did not mention in my long post, rock rhythm parts are played on Squier Tele (MIJE6), jazzy chords, and all solos and melodies, including distorted melody, played on Squier X155. Strings, I'm not sure, they're mostly some 10s on Tele and 11s on X155. Guitars go dry to mixer to PC, where I add FX and processing post festum. Ie. first I play the notes, then I search for sound to fit them.
    ^ ^ ^
    <<< My BlogSpot Page >>>
    v v v

  44. #43

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    Quote Originally Posted by Vladan View Post
    Good one Kris.

    You've reminded me, I did not mention in my long post, rock rhythm parts are played on Squier Tele (MIJE6), jazzy chords, and all solos and melodies, including distorted melody, played on Squier X155. Strings, I'm not sure, they're mostly some 10s on Tele and 11s on X155. Guitars go dry to mixer to PC, where I add FX and processing post festum. Ie. first I play the notes, then I search for sound to fit them.
    Thanks Vladan,
    Tele is a great guitar.
    Best
    Kris

  45. #44

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    Quote Originally Posted by pkirk View Post
    Here are my takes: Like Jeff, I never liked this tune much, and never bothered to learn it, but I like the exercise of learning one new tune a month, so I spent an hour trying to internalize the chords, then recorded these two takes... (excuse the sloppiness/dropped beats, I'll probably remove these before too long.)

    A solo chord-melody

    SoundClick artist: Paul Kirk - page with MP3 music downloads


    and single note/backing myself in 5.

    SoundClick artist: Paul Kirk - page with MP3 music downloads
    Very nice sounding guitar and nice playing.
    Best
    Kris

  46. #45

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    Quote Originally Posted by wizard3739 View Post
    OK, this will be my input for this month. It may sound strange to some of you, I have tried some new things (for me) on this one. I tried some octave phrases (not too good at these), and messed around with the time a la Jimmy Raney thoughts. I tried to use some of the material from the "Line Games" book and basically played by ear on this one. I used only BIAB bass and drums to get a trio sound without any chords. I'm still not playing chords very well (left hand is still healing).

    wiz

    https://www.box.com/s/kg59wwzpw0x2kfxtzavpt
    Exelent sounding guitar!
    Nice feel!

  47. #46

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    Quote Originally Posted by kris View Post
    Hi,
    There is my short version of "Come Rain or Shine".
    I've recorded it today.I've tested my new tube amp head MV3h.
    I played my Tele with Sadowsky Pure Nickel strings/11"-50"/.
    I think you like my sound on pure tube amp.
    All The Best
    kris
    https://www.box.com/s/b5hcw75x8iem70t7cmza
    I love the chords in the solo, as always good stuff, great tone.
    Guy
    “I will not let anyone walk through my mind with their dirty feet.”
    ― Mahatma Gandhi

  48. #47

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    Hey Kris, that was really great, I thought it was Ed Bickert - and that was before I read that you were using a tele, it was the voicings and the tone - I even had to replay Ed's version (on At the Garden Party) and was amazed to find that your version is more like Ed's than Ed's - no disrespect intended to you (or Ed) - great stuff !

  49. #48

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    Wonderful playing Kris! Great tone, great lines, excellent voicing choices! Sunnysideup got it right, you sound very much like Ed Bickert! more please!!

    wiz
    Howie

  50. #49

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    Quote Originally Posted by GuyBoden View Post
    I love the chords in the solo, as always good stuff, great tone.
    Guy
    Thank You Guy very much,
    Jazzingly
    kris

  51. #50

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    Quote Originally Posted by sunnysideup View Post
    Hey Kris, that was really great, I thought it was Ed Bickert - and that was before I read that you were using a tele, it was the voicings and the tone - I even had to replay Ed's version (on At the Garden Party) and was amazed to find that your version is more like Ed's than Ed's - no disrespect intended to you (or Ed) - great stuff !
    Thanks a lot,
    I like Ed Bickert playing very much.He is a Tele jazz guru.
    I have to practice more on Tele...:-)