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There's vids of Ted Greene playing and explaining jazz blues out there, I love this stuff:
(around 2 mins in he gets into it)
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06-05-2015 08:55 AM
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Originally Posted by richb2
I really enjoy this place for the people I "meet".
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Originally Posted by AlsoRan
It's also not by experience outside of this forum. Where I live, pretty much every jam session and gig includes at least one blues. I just saw Peter Bernstein with Larry Goldings and Bill Stewart--they killed it on at least two blues tunes in the set and a half I saw.
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One of my favorites:
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Originally Posted by dingusmingus
But I was only looking at the Jazz Blues threads, and with the exception of the two latest, they are normally rather short. In contrast, when you look at threads discussing improvisation over songs like All The Things You Are, Autumn Leaves, Giant Steps and other non Blues songs, they go on for pages and there is great interest.
I see now that this is not an indictment of Jazz Blues, but maybe more a reflection of the complexity of having so many different chord changes and key changes?
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Mebbe it's upper-EastSide cool to affect disdain for the blues (or Brooklyn hip). However, all the artists play the blues.
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Originally Posted by grahambop
My teacher has been playing bass for 50 years and he finds playing standards boring. I think it's natural (especially in Jazz) to seek out new harmonies and rhythms. I'm sure we can all name standards that we are sick to death of playing.
I sure find the "all blues" radio station boring after two or three songs.
That said, I still love the blues and it is about 50% of what I practiced over the last few weeks.
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Lol. Blues is easy?
Try playing something that isn't a cliché over a Parker blues at 240bpm.
Y'all crack me up. If the blues is easy, how come 9 out of 10 folks I hear try and play it suck?
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Originally Posted by mr. beaumont
9/10 folks you hear that suck at the blues - probably suck way harder on 26-2.
It's really hard to sound great on blues - as hard as anything - but its easier to feel comfortable over(this is different from sounding good) than most forms.
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Originally Posted by mr. beaumont
I'm not that good at playing fast, but I would say the Au Privave is easier to play than Confirmation.
Just my 2 cents.
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Originally Posted by mr. beaumont
I could see someone running out of ideas pretty quick.
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Two things I love about this song:
1) IMO it perfectly rides the line between jazz and blues
ii) Sarah Vaughan
Sorry for the ad.
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Originally Posted by Franklin52
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yep miles can do it...very "monk" flavored to me...it would take some salt and pepper to play on top of those "simple" changes---but miles and company =
March 16, 1956
Miles Davis (tpt); Sonny Rollins (ts); Tommy Flanagan (p); Paul Chambers (b); Arthur Taylor (d)
WARNING::: DONT BURN YOUR GUITAR--the link below is a kid (about 14yrs old) playing "parker" changes (donna lee)
Last edited by wolflen; 06-07-2015 at 01:42 PM.
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I've posted this before and doubtless will again. It's one of my favorite recordings. Clifford Brown really tears it up here.
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Hey AlsoRan can we get discussing. I don't really have anything to offer but I will kick it off to hopefully bait some big fish and I can then sit back and take it in.
I understand the approach play Eb over Bb7 blues, this definitely seems to be what Grant Green does. He also seems to play chromatic lines over the Eb and often plays the major 7th of Eb.
Have been messing with playing Cminor pentatonic over the Cm7 F7 for some variation and that sounds alright.
The major minor 3rd on Bb7 Eb7 and G7 sounds good and the flat 5 sounds good to me on Bb and Eb.
Sticking the diminished chord in the blues progression does not make any sense to me at all.
Bruno does a rant about not playing Pentatonic but listening to Soulful Brothers by Kenny Burrell it sounds all Pentatonic to me and sounds fantastic
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Bars 4-6 : Bb7 Bdim F7
This creates half step bass movement -> Bb, B C(5 of F)
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Originally Posted by gggomez
You are moving me faster than I can go, due to my time limits. I would have to stop and write out what you are doing so I could really investigate it. Unfortunately, I am bogged down with just using the Major and Minor Blues Scales these days. Between that and experimenting with the Swing Blues Book/Cd, (and a couple of speed exercise pursuits that I try to do every day) I am tapped out on time.
I am familiar with the Cminor Pentatonic over the Cm7 and the F7 and I do like that little diminished chord stuck in strategic spots in the Blues Progression. For me, it gets a little old just stick with the Dom and Minor chords.
I actually just started getting into the Jazz Blues around the first of the year since the changes are easier to hear and feel, at least for me. And, its been fun.
I have been making good progress so give me another month and I think I will be able to contribute more.
Oh, I also brought out Jimmy Bruno's fingering book to add to my workload so I KNOW it will be a month before I can really do any Jazz Blues conversation any kind of justice.
Keep it up, and I will catch up soon.
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Originally Posted by gggomez
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there is tasty ... and then there is Kenny Burrell...
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Surprising thread. IMO No Blues=No Jazz. I suppose some players have it ingrained deeper than others, and at some points, Jazz has sought to both disregard & emphasise the blues undercurrent.
Anyway, for your interest, and consideration, have a listen to this.
From Leonard Feather's "Jazz Club USA" Tour, recorded 1954, in Koln, Germany.
Billie Holliday (v), Buddy DeFranco (cl), Red Norvo (vib), Jimmy Raney (g), Red Mitchell (b), & Elaine Leighton (d).
JR. plays the most un-cliched blues lines I've ever heard. His solo starts at 5m 03s.
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AlsoRan here is some inspiration. Jazz (to my ears) does not have to be crazy technical or theoretical.
Listen at 2:32. Love this Benson lick. It is minor pentatonic in everyone's favourite box the and adds the flat five on the glisses
If I get lost in a blues I take a breath and chuck this in to stimulate new ideas. Whilst it is for I chord it kind of works (you can make it work) on the IV the II and the V in case you stick in in the wrong place.
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Originally Posted by gggomez
That was a couple of years ago so I will give it a listen now with my more developed ears and see how it appeals to me.
Thanks GGG
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Hey, I can now appreciate the whole song. At first I thought the middle portions caused it to lose its driving power, but now I like the way it breaks up the song with a different kind of tension that makes you beg for the driving beat to return.
Bravo, George Benson and company.
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“Blues is to jazz what yeast is to bread. Without it, it’s flat.” - Carmen McRae
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