View Poll Results: Heads or Tails
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Originally Posted by djg
Nearly every version of So What that Miles played after Kind of Blue is way faster than the original. Some of them are blindingly fast. Coltrane plays Impressions at a fast tempo too.
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10-13-2024 08:07 AM
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Originally Posted by supersoul
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Originally Posted by charlieparker
Thirteen of the 22 tracks on Back to Indiana Avenue are under 6 minutes and some are under 4. It’s mostly the live ones that run longer, and those were unreleased until this compilation was made.
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I'll tell you what it is. With Wes, he IS the music he plays. He's connected to it and the listener's connected to it too. With Grant Green there's a coldness, a distance. He's good, which we know, but there's not the same feeling. That's why the poll puts Wes ahead. People warm to him, can't help it.
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Originally Posted by djg
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Originally Posted by djg
The 2 chord sequence (or cadence or whatever you want to call it) in the head is essential to the feel of the tune. Replacing it with a simple repeat of the tonic (especially played in the relative major of the original key) makes it sound to me like a simplified version you might find in a book called “Famous Jazz Tunes Arranged for Beginners”.
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Originally Posted by nevershouldhavesoldit
here is his version in Dm. if you listen to his solo you will find all the ideas from the Cm version in Dm. i#ll be happy to go on skype with you and demonstrate you each and ever lick. but you can try yourself. take the Cm version. start on f and play the bebop dominant down. then play the f major scale down. bebop dominant fits (because it is C dorian with a guide tone) Fmaj does not fit because the E sticks out like a sore thumb. as it should be since the underlying chord is Cm. try to hang on the the E on the first version. you cant. QED. the fitting maj chord is actually Ebmaj#11. try it. that is also what wes does on his version.
Last edited by djg; 10-13-2024 at 09:49 AM.
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Originally Posted by djg
To my (pedestrian) ear the main difference I hear is that Grant is using a bit more tonic minor vocabulary than you’d expect from the usual modal kind of thing. Feels a bit more Dorian over the B sections generally, but especially over the As there’s some ambiguity between that Dorian thing and the tonic minor stuff. That’s not really terribly weird for this time period with the whole “modal” thing being relatively new and there not really being a lot of rules surrounding it, Miles’s rules for the KOB band notwithstanding.
I am a bit lost on the “F major” which I’m assuming is relating it to D minor, so I’ll give benefit of the doubt and transpose nevershouldhavesoldits analysis down a whole step. I still don’t get it though.
I don’t know.
I probably prefer Wes’s but this one just doesn’t sound all that weird to me.
EDIT: actually maybe the F major is in reference to F13 which would be an inversion of the Cm6/9? That’s sort of what I meant where it can feel Dorian in a somewhat different way than the quartal voicings in the original. It’s a little bit more of a lighter, more open sound, with the quartals being darker to me but that’s purely subjective. The bass is still walking minor.
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The head and first solo choruses sure sound like F major to me. He does ramble through Cm starting after 2 minutes - but there's neither rhyme nor reason to his voicings, so I can't figure out what he was trying to do. And he returns to F major when going back to the head before ending. Interestingly, Kenny Drew seems to have tried to reintroduce the two chord hook in his comping behind Tucker's solo. Drew brings some of the feel of the original to the tune in several places, but to me it clearly starts and ends in F major as I hear GG playing it.
The head is a C minor scale leading to an F, which may be why some are hearing the tune a being played in Cm. But to my ears, the chord figure is clearly 2 shots of F maj with what I think added 9th and/or 6th in various places.
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I hear Grant lean into quite a few m/maj7 ideas, which definitely changes the flavor.
Actually, it's really growing on me...but i do miss the "so what" chord tag in the head.
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Originally Posted by nevershouldhavesoldit
Im not sitting here with a guitar, but the first 16 are absolutely classic GG minor licks in the appropriate key.
And since I’m reading Cm and F major in the same post now, I think some clarification is in order. You were talking about relative major in your last (jazz tunes for beginners). Are you talking about the key of F major? Which isn’t the relative major of Cm, obviously. Do you mean Eb? Or F dominant? Or like … one flat F major. If the latter than you might need to point me to the E naturals you’re hearing over that C min.
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Originally Posted by supersoul
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btw, the last lick is called the "long but not forgotten" lick. the second one is the same as the starting lick on grants other version"two for one". the first one is of course Ebmaj/Cm9 with a double approach to the Eb. classic stuff that wes would use in the same manner. also grant green's vocab on those minor chords aligns perfectly with martinos linear expressions lines. hardbop 101.
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TBH, I feel a bit "meh" about both. The GB version is probably a bit more compelling, but still not really satisfying either.
IMHO, nobody, and I mean nobody, should ever attempt to cover this tune. It's the best way to show how far away from the true greats of improvisation (that created the original) you really are!
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Originally Posted by djg
Still. Classic GG and cool. Maybe not his finest work, but cool.
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Originally Posted by pamosmusic
on the record in question before So What in Cm, there is a minor blues in Ebm called come sunrise (the melody got similarities with softly), check out the opening phrase. it is lick no.2. so we get it verbatim on so what in Cm at 0:52, again on two for one in Dm at 0:42 and here in Ebm at 0:27. grant loved that lick.
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Hey, Mr. B,
It's arguable who is the biggest GG fan on here. :-)
That said, I agree with your assessment.
GT
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Originally Posted by nevershouldhavesoldit
and on top of it grant plays the head in Fm. i know it looks like a Cm lick because it goes GCDEb etc. but "so what" actually starts on the root, so in Cm grant would have to play CGABb etc. which he does not, deliberate or accidental. but everthing is still in Cm.Last edited by djg; 10-13-2024 at 12:06 PM.
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Sonny Stitt Live in Boston, 1954.
Song: Sweet Georgia Brown.
Please, listen at 2:35.
I'm convinced it's not a coincidence.
However I prefer the version played by Wes.
ettore
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Originally Posted by equenda
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Originally Posted by pamosmusic
Some of his lines after the first 2 minutes do suggest C natural minor, which contains the same notes as an F dom 7 scale with a 9#. So I can understand how djg might think he’s hearing Cm in some of his lines. But it sounds to me like Green was playing in F major and tossed in some phrases that fit both Cm and F major because the two scales share almost all of their notes.
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Originally Posted by nevershouldhavesoldit
The two scales do share a lot of notes but the note that is different is Eb for the C Dorian, and E natural for the F major. Can you point to a specific line that is in one flat? Like … is there an E natural over a single one of the Cm bars? There isn’t. But there is an Eb in virtually every line he plays.
There are a lot of ways to hear the same pitches and feel them differently, but if you’re hearing that this is in “F major, the relative major of the original D minor” then you’re hearing pitches that are objectively not there. Especially since you’re suggesting that this is something that Grant is doing wrong or whatever, you should probably be able to point to an example that supports this in some way. I couldn’t play this note for note at the moment, but my ear is good enough to know that you won’t find such an example.
Even that later contention that there’s a C natural minor sound at the end is kind of weird. Maybe a stray Ab here and there but he’s just hammering A natural the whole way through.
The closest we can get to what you’re talking about here is what djg suggested — that there is a sort of prevailing F note in the harmony for the head, which would not be relative major to the wrong key, but would be the V to the Dorian ii. It’s like playing that Eb A D voicing (F13, or Cm6/9) over a C bass, versus playing the F Bb Eb or whatever. But he’s absolutely shredding Cm over the whole thing and the bass is plugging away at typical Cm vamp stuff. So playing As and Fs over that might give you more of like a dominant feeling “Oye Como Va” dorian, rather than a brooding Bill Evans Dorian.
But your explanation of this is objectively incorrect and it’s kind of weird to attribute this to mistakes or poor musical choices on Grants part. I honestly don’t think this is top shelf Grant, but I’m not sure where you’re getting what you’re getting.
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Originally Posted by nevershouldhavesoldit
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Originally Posted by djg
Here's as much of Grant as I could write out in the time it took my coffee to brew.
I stopped where he got hipper, but it's Ebs all day, A naturals all day.
Ne'er an E natural to be found.
grant so what - Score.pdf - Google Drive
I promise to stop ... but the first fourteen or whatever measures that I got, he plays straight up a Cm from the root three times, with an embellishment once, and up a Cm9 arpeggio once. Couldn't be clearer.
EDIT: What I will say, and which I said right from the get, is that this does look more like tonic minor vocab to me than “Dorian vocab.” Jeff mentioned the B naturals, and with the exception of the pickup measure, you might mistake this entrance for a solo over something like Softly as in the Morning Sunrise. Which I kind of like. But yeah.
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Originally Posted by pamosmusic
Is this a bad habit?
Today, 11:47 AM in Improvisation