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I was a bit grossed out tbh
Originally Posted by joe2758
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05-29-2026 12:21 PM
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Cm6/#7 and/or F7(b5) is a better choice for bar 10 because there's major 7th (B) in the melody and the phrase/lyrics seem to call for more dissonance there. Originally Posted by GuyBoden
Do you play dim.7 chords differently than 7b9 chords? I find the latter easier to remember than the former, at least if they're functioning as dominant chords.
That's good, because it has a couple of wrong chords. Originally Posted by GuyBoden
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Some of your vectors are null but I like you anyway? Originally Posted by joe2758
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i dunno what a vector is but I thought fancy science called hairy balls was funny Originally Posted by Mick-7
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Yes, scientists often lack social awareness, you'd think they'd reconsider naming it that. Originally Posted by joe2758
"There is no nonvanishing continuous tangent vector field on even-dimensional n-spheres. For the ordinary sphere or 2-sphere, if f is a continuous function that assigns a vector in R3 to every point p on a sphere such that f(p) is always tangent to the sphere at p, then there is at least one p such that f(p) = 0. In other words, whenever one attempts to comb a hairy ball flat, there will always be at least one tuft of hair at one point on the ball."
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Why would you think that wasn't on purpose? Originally Posted by Mick-7
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Because it is. Originally Posted by joe2758
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Vector!? I hardly even know her!
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The missus would also like to inform of the lipschitz condition
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is that when you cant stop saying stupid stuff
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I'll ask a not stupid question:
Does it even exista the "best" version of chord changes to any jazz standard?...
or you just shouldn't worry about it and play the way it suits you...?
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Well, obviously it’s not always your call. Depends on the context. My aim is to do what’s right for the gig, and if you are a sideman you need to do what the leader wants - if they have a preference. Originally Posted by kris
If you have a good understanding of the history of a tune it makes you more flexible. It’s good for the ears too.
For example, while the II V changes for Stella are the right choice 80% of the time there’s a growing number of musicians who prefer the older diminished changes (as played on Bird with Strings). I would choose different changes for Indiana if doing a Louis style thing than if I were playing it in a bop group.
The same for any tune. Prewar stuff has different turnarounds and movements. Less II V’s and so on. Manouche jazz is similar but has some more modern aspects. Bop is II Vs to death. Contemporary is different again.
I’m quite unusual in having a wide stylistic range of gigs so it’s directly relevant to my playing life. But you’ll even find with top contemporary style players that they can be absolute sticklers for this stuff. Mike Moreno is a good example. Lage Lund too. I think it’s a New York thing, as Brad Mehldau said…. And that’s starting to influence players here who are serious about the repertoire.
I get schooled on this stuff all the time lol. It’s good. It all comes out on the gig, then you go home and learn.
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So, in short, everything depends on the level of playing of a given musician.
So if someone plays the guitar excellently, e.g. fusion jazz and occasionally plays a well-known jazz standard, he can make a mistake.
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I think they are staging the discussion a little for the cameras. It’s a teachable moment for players watching. Open Studio does the same thing. Originally Posted by kris
Obviously fusion cats are not usually the most invested in the standards repertoire playing mostly super complicated original music, and Herbie stuff from the 70s and so on. Footprints is sort of in both worlds. A lot of fusion guys are pop session and theatre players by day of course. We only have so many hours in the day.
I went years playing D7 Db7 and was none the wiser. Later I got schooled on it and I went a bit deeper with it - and basically went on the journey with it they do here.
It’s a growing process and every day is a school day as they say.
On the bandstand what you do is you listen to what the band is doing and play what they do.
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You can use a completely different form and chord changes.Same well know tune.
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That’s cool. When I am in circles where footprints ever gets called, I might transcribe and suggest that version. Originally Posted by kris
I don’t think the aim of any of this is to shame people or gatekeep - although it is often used this way.
The penny dropped when I was in Barry Harris’s class and someone called the old swing tune ‘China Boy’ that I must have played hundreds of times on gigs.
He didn’t know it.
We all have our specialisms, but I try not to denigrate other people’s specialisms, and I don’t believe I have done this at any point of this forum.
Some people go really deep with standards
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This version of "Footprints" seems to be very popular among young jazz adepts...
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I’ll take your word for it… all the ones around my way seem to be Bud Powell obsessives. Originally Posted by kris
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Don’t know about Monk etc., but I was just reading the Sonny Rollins biography and it says that when the young Sonny and Jackie McLean wanted to know the changes for a tune, they would go round to Monk’s house and ask him! Originally Posted by pamosmusic
Can just imagine Monk hearing a knock on the door and thinking “Damn it’s those pesky kids again, what do they want this time, changes for ‘It Could Happen to You’?”
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Haha I called Time On My Hands and Rose Room at a big jam once. No one knew the tunes but me. I was quite shocked haha. I learnt that actually, no one knows everything. No one knows all the chords and all the lines. No one can hear everything perfectly once and recreate it. No one knows every style/subgenre intimately and can play it convincingly.
I used to think that Pasquale Grasso was the pinnacle of guitar playing (in some sense he is, I mean, come on...) but he doesn't have much of the prewar blues or swing idiom down much and when he does it, I'm not super convinced.
Dani Rabin, another fusion shredder who is so ridiculously competent in multiple genres and music in general was criticised for having a bad la pompe technique/sound. I thought the guy had everything down, but to some, apparently not.
This is a not a knock on them because, really, who has time to specialise in everything? We love them for what they do very specifically. At the end of the day, we're all doing the best we can with what limited resources, time, bandwidth, inspiration etc we have.
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He could have sent them back to the jazz museum.... he was very nice. Originally Posted by grahambop
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Che Baker's chord changes-very nice.
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yeah it seems Monk took the younger musicians under his wing and let them hang at his apartment for hours (even though it was tiny, and he had a family). Sonny Rollins in particular spent a lot of time there. Sometimes he would sit next to Monk for hours in silence, just sort of soaking up the vibe. Originally Posted by kris
He could have sent them back to the jazz museum.... he was very nice.
I love reading these sorts of details, it really brings the history and the players to life.
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Thanks Graham Originally Posted by grahambop
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