Polka Dots & Moonbeams

[Mark Kleinhaut]

Here's an old classic American songbook classic that's been played thousands of times in as many ways. My take is completely improvised using the "language" (as my friend Peter Mazza likes to refer to it) I've developed through exploration and listening, trial and error. I've been told these videos sound pretty ok, but believe me when I say I'm a slow learner, whose been self-taught by an inexperienced teacher.

But Hey, I’m just going to keep putting tunes and tones out into the ether just in case it matters or helps. Worst case scenario I’m wasting some of my time, but so what. Best case, there’s a spark or a breath, or a tiny light that makes a difference for someone, somewhere, sometime. Sincerely yours, MK

[Groyniad]

this sounds lovely

seems to me the thing to appreciate - if you're haven't played this tune a lot - is the time. it's very easy to be primarily impressed or struck by note-choice - melody etc.

but what makes this engaging - for someone who has played polka dots a thousand times - is that however ambitious it is melodically/harmonically - it effortlessly holds onto the rhythmical shape of the melody

It holds my attention because it is all built around a lovely melodic shape

Jim Hall and Bill Evans are my favourites here. the beginning of portrait in jazz is the beginning of 'come rain or come shine' - but it doesn't sound anything like 'come rain or come shine' - and then it does - and then it doesn't (but still does somehow). Jim Hall playing - e.g. - the song is you (These Rooms) is another great example.

I feel strongly - always have and expect I always will - that giving up the melodic form - the whistle-able form of a catchy groovy tune - and playing in a more 'abstract' or 'impressionistic' way, risks throwing the baby out with the bathwater.

we don't want to do that

(but maybe the risk is worth running sometimes)

[Mark Kleinhaut]

this sounds lovely

seems to me the thing to appreciate - if you're haven't played this tune a lot - is the time. it's very easy to be primarily impressed or struck by note-choice - melody etc.

but what makes this engaging - for someone who has played polka dots a thousand times - is that however ambitious it is melodically/harmonically - it effortlessly holds onto the rhythmical shape of the melody

It holds my attention because it is all built around a lovely melodic shape

Jim Hall and Bill Evans are my favourites here. the beginning of portrait in jazz is the beginning of 'come rain or come shine' - but it doesn't sound anything like 'come rain or come shine' - and then it does - and then it doesn't (but still does somehow). Jim Hall playing - e.g. - the song is you (These Rooms) is another great example.

I feel strongly - always have and expect I always will - that giving up the melodic form - the whistle-able form of a catchy groovy tune - and playing in a more 'abstract' or 'impressionistic' way, risks throwing the baby out with the bathwater.

we don't want to do that

(but maybe the risk is worth running sometimes)

Many thanks for listening! Playing this music, it seems to only come alive when there is risk taking involved. It’s the energy of the high wire, crashing and burning, that imbues the performance with a sense of urgency that’s awakening. Simply put, it has to be dangerous to stimulate the senses and kick the mind into full attentiveness. Otherwise, it’s all a big snooze. But the thing I love about Hall and Evans, as if you couldn’t tell they were my favorites too, is how they do it without playing loud, fast or frenetically.