Stella by Starlight 2025 w/Video

[Question]

After reading 7 pages of discussions about the original chords to Stella, I decided to record a version with the harmony as it is (mostly) currently played.

I find navigating this tune more difficult than Giant Steps due to the unusual harmony movement and my weakness with half-diminished chords.

It is not that I don't know what to play on half-dim., it is more a question of building strong coherent lines.

Although I don't believe that Ed Bickert ever recorded Stella, he was my inspiration on this one.

Ed Bickert had a great and unique way when playing trio of accompanying himself with not only chord stabs, but also using counterpoint and chords within his melodic content.

Sort of harmonizing just sections of a line and not block-chording the whole thing.


Anyway, here it is with help from Mr. Sunny Bass. (and Peter Erskine)

[James W]

If you find it difficult, this definitely doesn't come across in your playing here. I enjoyed your version.

I sort of know what you mean about the changes, but E flat, B flat, D minor and F are all quite closely related keys... But I guess I am very familiar with the changes of this tune. I know it well.

[Question]

Hi James W,

maybe "difficult" is the wrong word. The keys and chords are easy for me and I know them well.

What I meant specifically is being able to weave a lyrical and coherent solo, and always being able to find a good resolution without stumbling or messing up the time. This becomes more "difficult" when I start trying to harmonize parts of my improvised melodic idea in real time.

I listened to your Stella version on the other thread, and although I hear you playing some nice lines, sometimes the chord connections also seem to catch you off guard. (this is meant as a constructive criticism and just something maybe to reflect on!).

I am trying to phrase melodies somewhat free of the harmonic rhythm and the more unusual the harmony moves the trickier it becomes.

[James W]

Thanks for listening.

Anyone is free to infer what they like from my playing, but I think, rather than being caught off guard by the chord changes, my main weakness is poor articulation caused by relatively weak right hand technique. I'm still in the process of training these digits...

But to get back to your rendition: you are absolutely successful in weaving lines around those changes.

[Question]

Hi James,

ok, I see. Upon second listening I stand corrected.

I thought that you sounded stronger with a pick in your earlier videos. There are very few players that I know of who can really swing with fingers. (I am not including players who use a thumb pick and alternate with another finger).

It can be done be for me it just makes it more difficult. Everyone does it their own way and many players have made great music with much more unorthodox techniques. Carry on!

[kris]

After reading 62 pages of discussions about the original chords to Stella, I decided to record a version with the harmony as it is (mostly) currently played.

I find navigating this tune more difficult than Giant Steps due to the unusual harmony movement and my weakness with half-diminished chords.

It is not that I don't know what to play on half-dim., it is more a question of building strong coherent lines.

Although I don't believe that Ed Bickert ever recorded Stella, he was my inspiration on this one.

Ed Bickert had a great and unique way when playing trio of accompanying himself with not only chord stabs, but also using counterpoint and chords within his melodic content.

Sort of harmonizing just sections of a line and not block-chording the whole thing.


Anyway, here it is with help from Mr. Sunny Bass. (and Peter Erskine)

Very nice playing.
Best
Kris

[James W]

Hi James,

ok, I see. Upon second listening I stand corrected.

I thought that you sounded stronger with a pick in your earlier videos. There are very few players that I know of who can really swing with fingers. (I am not including players who use a thumb pick and alternate with another finger).

It can be done be for me it just makes it more difficult. Everyone does it their own way and many players have made great music with much more unorthodox techniques. Carry on!

Thank you for paying attention to my playing.

As I've said previously, the pick is good in a superficial sort of way, but if you listen closely to my recordings where I use my Fender Mustang, you will hear my pick at times hit the body of the guitar, a sure sign that I was string-hopping (it didn't happen with my Godin 5th Avenue because of the large gap between the strings and body of the guitar on that instrument).

Now, I found myself unable to escape the habit of string-hopping. Hence, I decided to ditch the pick altogether in March 2024 and started classical guitar again. So just a few weeks ago I decided to start attempting to play jazz again, only this time fingerstyle. It still feels and sounds a bit cumbersome but at least I know and can sense I've made progress fingerstyle because I'm doing it the correct way even if it takes a long time, as compared to the pick where I was seemingly unable to break out of the wrong habit.

TBH I am also developing my legato chops too. Because it makes sense to develop one's strengths as well as work on weaknesses... I would just need to figure out how the legato lines would work on jazz standards - and the tempo is all important in this respect.