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  1. #1

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    Our standard for Jun 2019 will be Stompin' at the Savoy (Goodman, Sampson, Webb, and Razaf, 1936).

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    Jazz Standards Songs and Instrumentals (Stompin' At the Savoy)

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Aw man I was hoping I Should Care, guess you already did it

  4. #3

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    Yes, I had I Should Care lined up too. Never mind :-)

  5. #4

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    Sorry, guys, I Should Care was April 2013.

  6. #5

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    I think I'll give a try in this one.

  7. #6

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  8. #7

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    Just to kick it off, here I am trying to remember it. I cut it off when my 7 year old comes around the corner to narc on the 5 year old for putting juice in a water gun.

    Beautiful day.


  9. #8

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  10. #9

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    Quote Originally Posted by dogletnoir
    This sounds like the input was way overloaded and every note seems heavily clipped.

  11. #10

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    Alright. I didn't know this song (on my instrument anyways), so here's a rough take. With all apologies to Herb Ellis for stealing all his lines in between my noodling.

    And I clearly struggle with the bridge. I need to sit down and study it.

  12. #11

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    I remember hearing James Chirillo play on this tune, but I never heard this:



    Very swinging solo. I have a little insider knowledge as to how he crafts a solo--he is a fellow ear training fanatic (though he took a different path than I did). I remember doing all these sight singing exercises in the George A. Wedge book... I wish I still had that book. Also, James is a hell of an arranger and composer.

    Bahnzo, for the bridge--that chromatic movement up a half step and down--don't stress it too much. Also, and I'll stand by this--never lose track of the home key. The bridge only happens for what, less than 40% of the tune (yeah, I did the math). That doesn't mean forget the bridge to the tune. It means, always keep the home key in the back of your noggin while you play the bridge. If you do, the bridge will be a little more manageable (it's definitely not a simple rhythm changes bridge or 1-6-2-5 deal).

    IVdom7 to the bIIVdom7 to the bIIIdom7

    You took a swingin solo yourself, Bahnzo. I'm just offering a way to connect everything in the tune. Too many people see a bridge and think--oh shite, now I have to play everything completely differently--and that ain't true. Look for the glue, Mr. Magoo

  13. #12

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    When I’m trying to internalize a tune I’ll sometimes set up iReal to play backing tracks in various rhythms, tempos, and keys. I’ll usually turn off the comping track, and dial the drums way back. At some point I’ll invariably set it to Cuban Son Monuto 3-2. Here’s how Stompin’ turned out at 160 bpm.


    My fingers got a little tangled up but I kind of like the tune to that rhythm.

  14. #13

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    Nice! I've already done a couple of Samba at the Savoy's. It's addictive :-)

  15. #14

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    Another take:


  16. #15

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    Quote Originally Posted by Irez87
    Bahnzo, for the bridge--that chromatic movement up a half step and down--don't stress it too much. Also, and I'll stand by this--never lose track of the home key. The bridge only happens for what, less than 40% of the tune (yeah, I did the math). That doesn't mean forget the bridge to the tune. It means, always keep the home key in the back of your noggin while you play the bridge. If you do, the bridge will be a little more manageable (it's definitely not a simple rhythm changes bridge or 1-6-2-5 deal).

    IVdom7 to the bIIVdom7 to the bIIIdom7
    Actually the bridge is essentially the same as rhythm changes - it’s the same cycle (as Bruce Forman would call it - he says we should be able to recognise these common cycles wherever they occur). The dominants move up a 4th or down a 5th (whichever way you want to look at it), same as rhythm changes. It starts on the IV instead of III (and has a little sideslip down one semitone to get out at the end) but that’s a trivial point.

    If you practise this cycle as a continuous one it goes through all 12 keys anyway. Which means you should then be comfortable starting it on any chord.

  17. #16

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    Good point, I thought the bridge sounded a little familiar

  18. #17

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    I made a decision to ignore the chromatic movement in the bridge. I'm just thinking of it as Gb-B-E. I did try to outline both A then Ab for first chorus, and the second I just played a Wynton Kelly lick I learned (so I play it everywhere now!) for Ab. But what I meant is that I need to sit down and *listen* to the bridge and try to hear the changes better. Coming in not knowing the tune, I don't have it internalized and I barely even know the chord changes.

    I found a transcription of Jim Hall's version, so I'm going to study how he plays it as well.

  19. #18

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    Quote Originally Posted by Irez87
    I remember hearing James Chirillo play on this tune, but I never heard this:
    I've seen a few things of him playing, and he's top notch. He's also a tru pro IMO. Every video I see of him seems to be at some loud restaurant, crammed into a corner, playing for people who probably could give a damn. And yet, he's cranking out something pretty amazing.

  20. #19

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    I studied with James Chirillo, but I never got a chance to see him play live--what kind of student was I? SHAME!

    He has some videos with Wynton Marsalis's Lincoln Center Big Band, if you really search youtube.

    I'm also ashamed to say that even though I got lessons with James--we never really covered any of that Freddie Green! He'd play it for me, but we never went over it directly... But I watched what he was doing as closely as I could!

    Two hour lessons--I think I mentioned before that I had to do work around his house to afford his lessons. The first hour would be at the piano singing and listening. Only after ear training could I play my guitar. He was also a strong believer of playing acoustically--even with an electric archie--to practice tone production.

    Lastly, he would always dress up in full business regalia--even for our lessons.
    Last edited by Irez87; 06-06-2019 at 06:02 PM.

  21. #20

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    Quote Originally Posted by KirkP
    When I’m trying to internalize a tune I’ll sometimes set up iReal to play backing tracks in various rhythms, tempos, and keys. I’ll usually turn off the comping track, and dial the drums way back. At some point I’ll invariably set it to Cuban Son Monuto 3-2. Here’s how Stompin’ turned out at 160 bpm.


    My fingers got a little tangled up but I kind of like the tune to that rhythm.
    I bet this would have been good if we could actually hear you

  22. #21

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    Quote Originally Posted by eh6794-2.0
    I bet this would have been good if we could actually hear you
    Yeah, it overloaded. Maybe I’ll try again later.

  23. #22

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    I had to go headphones, but I could hear it. Bright and fun, Kirk, i like it.

  24. #23

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    I do everything with phones and it was quiet. But it was great, lots of fun.

    Makes you want to get up and jig around with a big grin :-)

  25. #24

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    Quote Originally Posted by eh6794-2.0
    I cranked up my computer. Your playing and the rhythm was amazing.
    Remember to turn the volume back down or you’ll be deafened next time you play something.

    I feel that the exercise of playing over a bunch of different rhythm tracks helps open my ears to new possibilities. When I go back to a more typical swing rhythm I can feel some of those other rhythms within it, and they creep into my phrasing—or at least I hope they do. If nothing else, it make practice sessions a little more interesting.

  26. #25

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    here's my quick take.

    Couple o' notes:

    1. I played it akoustically--like ragman

    2. I just put new strings on my archie, I think the "D" was a little out (or maybe a lot--I'm figuring out where I want my bridge to sit, height wise)

    3. I played the melody as if someone else took the low notes.

    4. I made a couple of clams--but I hear seafood is great in Washington, so... (I'll post anyway, in the spirit of Lawson-Stone posting his stuff no matter what--that's brave!)

    5. You might have to listen with headphones. I had to record this at night, and me daughtie was asleepin


  27. #26

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    I did this flipping ages ago


  28. #27

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    One of my favourite standards, even though I have to admit coming up with creative melodic lines is not easy on this one. But I love strumming those chords!

    Today at the lunch break at school, a drum lesson next door is trying to throw me off.


  29. #28

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    I was inspired by the Martin Taylor clip to attempt a solo fingerstyle version, not something I do very often!