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  1. #1

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    Ready?

    Our standard for Mar 2018 will be Tenderly - by Walter Gross & Jack Lawrence (1946).


    Background:
    Jazz Standards Songs and Instrumentals (Tenderly)

    Contrafacts:
    Serene - Eric Dolphy

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Threre is a very energetic take of Bill Evans in 3/4 :


  4. #3

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    At my skill level it takes a while to work through new material. OTOH, I get to hear lots of great ideas from others while I learn.

  5. #4

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    Here's Joe Pass doing in in an acoustic quartet, at a nice swinging tempo.


  6. #5

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    As we're gradually transferring the content of YouTube to here, here's a version I don't care for much! I like the modern players and admire the sounds, but I think it can get overdone and merely become a search for the bizarre, which in turn becomes a bit shallow.

    Sorry, Jonathan (great player, normally one my heroes). Mind you, it's very well done :-)


  7. #6

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    Quote Originally Posted by ragman1
    As we're gradually transferring the content of YouTube to here, here's a version I don't care for much! I like the modern players and admire the sounds, but I think it can get overdone and merely become a search for the bizarre, which in turn becomes a bit shallow.

    Sorry, Jonathan (great player, normally one my heroes). Mind you, it's very well done :-)

    This is a great solo version!!!!!!!!!!!!!!!!!!!!

  8. #7

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    Quote Originally Posted by kris
    This is a great solo version!!!!!!!!!!!!!!!!!!!!
    Yes I like Kreisberg’s version just as much as Johnny Smith’s, can’t see what the problem is. Some of the harmonies are a bit more dissonant or altered from the original changes, so what, sounds great.

  9. #8

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    I like one chorus Kreisberg’s version very much.

  10. #9

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    Here’s mine (solo guitar), normally these things take me ages but I only learned this tune last night!


  11. #10
    Quote Originally Posted by grahambop
    Here’s mine (solo guitar), normally these things take me ages but I only learned this tune last night!

    Nice. Great ending.

    Sent from my SM-J727P using Tapatalk

  12. #11

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    Quote Originally Posted by matt.guitarteacher
    Nice. Great ending.

    Sent from my SM-J727P using Tapatalk
    Thanks! Actually I find with these solo things it’s interesting to think about the ending, it’s fun to try and compose something that will sound good.

  13. #12

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    Here's my version, based on the Chet Atkins arrangement. :-)



    Adrian

  14. #13

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    Adrian -

    That was really nice. You brought out the tune, sounded lovely, great voicings, and it had feeling; you played it like you meant it. Excellent.

    (But cut out that flamenco stuff, it doesn't fit at all. Would anyone start playing Misty in the middle of a Malagueña? )

  15. #14

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    Quote Originally Posted by ragman1
    That was really nice. You brought out the tune, sounded lovely, great voicings, and it had feeling; you played it like you meant it. Excellent.

    (But cut out that flamenco stuff, it doesn't fit at all. Would anyone start playing Misty in the middle of a Malagueña? )
    Thanks very much! And fair point about the "flamenco" (I assume you're referring to the part where I switch between E and F major chords). In my defense, I took that directly from the Chet Atkins arrangement that I was trying to emulate:



    Adrian

  16. #15

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    Quote Originally Posted by Doublea A
    Nice. Where is that backing track from ?


    Sent from my iPad using Tapatalk
    Thanks

  17. #16

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    Quote Originally Posted by adrianh
    Here's my version, based on the Chet Atkins arrangement. :-)



    Adrian
    Great playing man! That’s a really nice arrangement, very guitaristic. Makes a cool contrast to Graham’s approach.

  18. #17

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    Very slow tempo Tenderly:


  19. #18

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    Quote Originally Posted by joe2758
    supports Christian's comment about old school players
    I like Peter Bernstein’s approach to this, I know exactly what you mean Joe. He says don’t throw away the melody and forget it because you can’t wait to display all your clever stuff in your solo; instead use the melody to work from, at least for the first chorus or so.

    I like it because if nothing else, it gives you a defined set of notes to work on, maybe generate some fresh ideas from that limitation. He talks about it here:


  20. #19

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    Quote Originally Posted by kris
    When I cheque my recorded take and one or two notes I do not like I cancel all my recorded track.
    Me too. I throw away much more than I post. But for the sake of a note or two? Not worth it.

    These two should have definitely scrapped this. The ghastly clashing! OMG!!


  21. #20

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    Kris, I really enjoyed your last version, very tasteful.

    Here's my contribution in 3/4 -



    Paul

  22. #21

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    Quote Originally Posted by PaulD
    Kris, I really enjoyed your last version, very tasteful.

    Here's my contribution in 3/4 -



    Paul
    Hi Paul,
    Thanks.
    Your take in 3/4 is really nice and very optimistic.
    Fantastic jazz sounding Tele in your hands.
    You have a big jazz vacabulary and every note is clean for me.
    Perfect single line solo with great jazz feel.
    You are my nr 1 .
    You just play without any philosophy.
    Jazzingly Yours
    Kris

  23. #22

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    Quote Originally Posted by ragman1
    Me too. I throw away much more than I post. But for the sake of a note or two? Not worth it.

    These two should have definitely scrapped this. The ghastly clashing! OMG!!

    I/ve got this Cd about 20 years ago.
    Great legendary players!
    Good material for transcribing solos...:-)

  24. #23

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    Kris, thanks for those very kind words!

    Paul

  25. #24

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    I like this old version very much:

  26. #25

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    I think it's quite interesting that very few of us actually discuss how we play over these standards every month. At least, as far as I can see. Maybe the last time was Caravan, over that long section of C7 (or C7/Db7). That was a bit of a puzzle.

    With this tune here, I've been looking at what I was using to play over the two sections that begin Fm7b5/Bb7 (bars 9 - 12 and 25 - 26). I've been playing a few things - Ab mel and outline the Bb7 or Bb13. Or Ab mel and F dorian. Or maybe Bb7b9.

    Or, maybe, Eb harmonic m. That's probably the nearest one theoretically because it treats the chords as a ii-V of Ebm. You get the natural D over the Fm7b5 as opposed to Db. But harmonic minor can get a bit sweet after a while... you know.

    To those players who've contributed their versions here, how have you approached these chords, as a matter of interest? Not a theoretical answer, but what have you actually played?

    Just wondering. Of course, writing it all down like this doesn't make for easy to read posts, so sorry for that.