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Originally Posted by A. Kingstone
F7 - Gm7 - Abo *) - F/A
so the second chord is different and there is more chromatic voice leading (it is actually the movement from I to II via diminished like e.g. in Embraceable You the other way round).
BTW There are actually people teaching in Youtube videos (not you, Alan) that Thelonious invented the chromatic melodic line from major third up to the fifth and the other way round **) in Blue Monk.
Which means that those people never heard e.g.the Basin Street Blues:
It is actually an old blues piano cliché that e.g. the Godmother of Bebop***) used when she remembered her early days and played those chromatic thirds:
*) or rather G#o when going up
**) The cliché does not only work for dominants but also for major chords where a bebopper would harmonize it as Gmaj7 - Am7 - A#m7 - Bm7 as taught by Barry Harris according to Tomasz Bia?owolski somewhere in his Barry Harris videos funded by the state of Poland (Tomasz Bia?owolski is one of those guys like Shan Verma that went to every BH workshop when Barry was in Europe).
***) MLW later was BTW the best friend of Pannonica de Koenigswarter, neé Rothchild, in whose house Monk and BH lived.
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09-26-2024 10:47 PM
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Originally Posted by Bop Head
I met this unbelievably good young hard bop and soul jazz pianist who admitted that he doesn't know much music beyond jazz, but what really shocked me that he never ever had heard the old African-American spiritual "Go Down Moses". IIRC when I was 12 years old or so we were singing that song in school ...
Sorry for getting a little bit off-topic but let's not forget that Barry's mother played piano in church and that Barry for sure knew about the history of music and not only jazz.
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^ There is a video somewhere on Youtube (that I cannot find ATM, FCK AI search engine) from a Barry Harris masterclass (London IIRC) where Barry refers to blues clichés as "swear phrases".
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^ In Chris class he teaches strictly BH material. There are no blues scale or licks at all! I like BH a lot but it's not like it's the be all and end all approach. I loves me some blues scale and licks mixed in.
<a href="https://www.youtube.com/watch?v=AXMe5NBjX7M" target="_blank">
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Originally Posted by Bobby Timmons
EDIT: That Cannonball Adderley record is actually called "The Cannonball Adderley Quintet in San Francisco".Last edited by Bop Head; 10-02-2024 at 09:04 PM.
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Barry live with Cannonball before he left and was followed by Bobby Timmons.
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Originally Posted by Bop Head
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Originally Posted by Bobby Timmons
I've been thinking about this a lot. I'm still super deep into all my Jim Hall stuff and just put together a big PDF on blues gestures he uses, and it's interesting that he doesn't flat out use the blues scale much, but he uses some stuff that sounds a lot like it. I think probably the trap is that folks learn the blues scale as kind of a cure-all and don't learn much about what the notes in the scale like to do. So it's interesting to look at licks people play that have that blues-scale sound and see what's going on in them.
Jim for example leaves the b7 out a lot. So he's all over that 1 b3 4 b5 and 5, but doesn't come up to the b7. He doesn't descend it from the root much either ... if he's descending from the root in his blues vibe, he's just running down the dominant scale most of the time. I don't really buy that the blues scale isn't in blues stuff, but I think the way it's taught (or not taught) blinds people to how interesting blues vocabulary can be, even in that form.
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I agree. Teaching blues scale as if it's the main or only device you need is misleading.
What good and competent players use, to me, comes down to aesthetic choices. Some guys sound more jazzy, some more bluesy. I would never want to write off the bluesy element in my jazz playing, including blues scale.
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Other things to notice:
Sonnymoon for two … descends from the root, but its minor pent with no b5
Bags Groove … descends from the fifth, but through the root and again no b5.
Nows the Time … does have the b5 but it’s just bounced off like a quick turn, does descend through the root but also just bounces down to the b7 and back.
No 1 Green St … b5 but it’s all in that cell between 5 and root again.
Interesting stuff. Not sure what it means.
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It means pent is a thing too?
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Originally Posted by Bobby Timmons
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Originally Posted by Bobby Timmons
Barry Harris
(Play button is in the lower left corner)
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BH in straight ahead mode is often too vanilla for me. I don't care how much rhythm there is, I need note complexity! I'm mad at rhythms!
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I’ve been transcribing Wayne on this recording (his solo is ridiculous and starts around 5:40), but Bobby absolutely demolishes this tune. Seven minutes, probably twenty five choruses. Starting at 10:00 on the dot if it doesn’t cue up.
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Yaz. BT! He has such a cool style. He was known as a soul jazz player but he was so good linearly. Cool mix of blues and bop.
To honor BT as my screen name, I'm thinking of making blues scale the main scale I practice for single note and have all other scales be complementary.
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Steal some of that vocab, my dude
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Ok, I will go jack 1 lick right now.
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This rocks. Louis Hayes and Sam Jones rock. Hal Galper calls it the "Big Beat" when he describes his time with Cannonball.
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Originally Posted by Bobby Timmons
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11:02 - 11:04. Gonna keep copping stuff.
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In Chris class today he taught us Echols stuff, the elevator.
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The Echols master class was epic!
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Does anyone know of a comprehensive BH single note syllabus? I'm really digging Chris class and want to assimilate the breadth of it on my own time to benefit more from the classes.
long lead on pickup
Today, 02:49 PM in Guitar, Amps & Gizmos