A few choruses of My Shining Hour @300bpm

[JDNC64]

Just testing my uptempo chops!

[sgcim]

Yeah Drew, smokin'!
I like that three repeated notes thing you do, it's kind of an extension of the two repeated notes thing that Barry Galbraith used to do.
I've been jamming a lot with a bass player, and we gravitate towards a lot of the things Harold Arlen and Cy Coleman wrote. Great jazz vehicles.

[JDNC64]

Yeah Drew, smokin'!
I like that three repeated notes thing you do, it's kind of an extension of the two repeated notes thing that Barry Galbraith used to do.
I've been jamming a lot with a bass player, and we gravitate towards a lot of the things Harold Arlen and Cy Coleman wrote. Great jazz vehicles.

Thanks for the kind words! I spent a lot of time with Louis Armstrong's solo on "Hotter Than That"
(I actually played the Lonnie Johnson part when I was in a Rep orchestra.) and gravitate towards that triplet polyrhythm
he does.

[kris]

Just testing my uptempo chops!

Very good jazz playing and beautiful phrases in a fast tempo.
Best
Kris

[sgcim]

Just testing my uptempo chops!

I always used to use a metronome set at 150 to 160 (300-320bpm), with no backing tracks, to work on my up tempo chops, but now I've been setting my
DB-90 all the way up to 250 bpm and blow on it with no backing tracks. If you think about it, that's exactly what's happening if you're playing with a bass player- he's playing a note on each click.
I'll still try to get Donna Lee up to 160 (320bpm)and blow on it with the metronome set that way, but since I worked Confirmation up to 200bpm like Bird did it, and then blew on it at that tempo (with no backing tracks) I've noticed it helps me play more accurate, longer lines than if I played it at 100 with two beats for one click like i used to do it.
Do you think this is a good idea?

[deacon Mark]

Drew that was good what guitar did you use? For as fast as it was it did not seem like the usually covering your butt tempo madness solo. It was fast but accessible to the ears.

[CliffR]

Sounds really really good! Was that a little Cherokee quote towards the end?

[JDNC64]

Very good jazz playing and beautiful phrases in a fast tempo.
Best
Kris

I appreciate it!

[JDNC64]

I always used to use a metronome set at 150 to 160 (300-320bpm), with no backing tracks, to work on my up tempo chops, but now I've been setting my
DB-90 all the way up to 250 bpm and blow on it with no backing tracks. If you think about it, that's exactly what's happening if you're playing with a bass player- he's playing a note on each click.
I'll still try to get Donna Lee up to 160 (320bpm)and blow on it with the metronome set that way, but since I worked Confirmation up to 200bpm like Bird did it, and then blew on it at that tempo (with no backing tracks) I've noticed it helps me play more accurate, longer lines than if I played it at 100 with two beats for one click like i used to do it.
Do you think this is a good idea?

It makes sense to me to do the click on every beat.
I need to shed Donna Lee now!

[JDNC64]

Drew that was good what guitar did you use? For as fast as it was it did not seem like the usually covering your butt tempo madness solo. It was fast but accessible to the ears.

Thanks! The guitar is a Jim Triggs Custom-made L4 syle I picked up used recently.
I listened a lot to the Stan Getz/Jimmy Raney Live at Storyville Recordings and it
is one of my benchmarks for lyrical uptempo playing and hopefuly that has rubbed off
a little on my playing!

[JDNC64]

Sounds really really good! Was that a little Cherokee quote towards the end?

I got that arpeggio pattern from Bird on Koko for sure.

[sgcim]

Thanks! The guitar is a Jim Triggs Custom-made L4 syle I picked up used recently.
I listened a lot to the Stan Getz/Jimmy Raney Live at Storyville Recordings and it
is one of my benchmarks for lyrical uptempo playing and hopefuly that has rubbed off
a little on my playing!

Raney was so melodic when I caught him live at Zinno's in NYC playing "Lover Come Back To Me" at a really fast tempo, it seemed like he was taking dictation from Bird!
It was almost painful to watch; he had his eyes closed and his head tilted upwards, with his mouth open and his tongue hanging out, and he was playing the most beautiful lines I ever heard.
The entire club exploded with applause as soon as his solo ended, like a crack of thunder.
I left that club convinced that in no way was Raney old fashioned or not modern, like some of his detractors had tried to say, he was superior to all of the modern players. That experience of hearing him live was an experience I'll never forget.
The only comparable player, on any instrument, was Phil Woods, who had the same ability to play melodically at fast tempos like Raney.

[CliffR]

I got that arpeggio pattern from Bird on Koko for sure.

Ah yes, Koko, of course!

[jameslovestal]

Raney was so melodic when I caught him live at Zinno's in NYC playing "Lover Come Back To Me" at a really fast tempo, it seemed like he was taking dictation from Bird!
It was almost painful to watch; he had his eyes closed and his head tilted upwards, with his mouth open and his tongue hanging out, and he was playing the most beautiful lines I ever heard.
The entire club exploded with applause as soon as his solo ended, like a crack of thunder.
I left that club convinced that in no way was Raney old fashioned or not modern, like some of his detractors had tried to say, he was superior to all of the modern players. That experience of hearing him live was an experience I'll never forget.
The only comparable player, on any instrument, was Phil Woods, who had the same ability to play melodically at fast tempos like Raney.

Nice story. Jimmy Raney is the top 50s guitarist that was alive when I became an adult, that I was never able to see.

[Gsjazz]

I absolutely enjoyed it. Kudos!

[Strat-itis]