The Jazz Guitar Chord Dictionary
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  1. #51

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    Quote Originally Posted by mr. beaumont
    Confirmation's tricky, I mean, it's an 8 bar blues, with a bridge, played AABA. I can see how that's tough to hear as a blues.

    But a Parker blues in 12 bar form, like Freight Trane...play some good ol blues licks on that form. Maybe they don't highlight all the fun stuff in the harmony, but they work...
    I never thought of Confirmation as a blues formally, but the IV7 to me is the most bluesy chord, and this tune has it....

    Thing is in terms of playing the blues, I'll do it on any major or minor tune if I feel it. All songs can be a vehicle for the blues ifd it feels right.

    And the blues form can be played completely without any blues feeling just by articulating the harmony.

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  3. #52

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    Quote Originally Posted by christianm77
    Confirmation has more twiddles tho. Also that B section, tricky double time phrasing and also pretty fast.

    Also rhythmically Donna Lee is pretty straight and Confirmation is rhythmically more interesting and we all know how guitarists find that kind of thing. You can alternate pick Donna Lee and it will sound OK and they all seem to like to do for some reason. Just try that with Confirmation lol.

    A very good example of a blues with a major seventh at the start is the A section of Wave, although that's what the Real Book says and I'm sure the actual Brazilians play something much cooler.
    Yesterday I've spent some time with "Confirmation". It took a while, but I got the first 2 bars of the head, which is about one phrase worth of music.
    In about the same time I've learned whole head of "Willow Weep for Me".
    Relatively recently I learned head of "Donna Lee", so I can compare a bit.

    All IMO, of course ...

    The most of rhythmically interesting stuff in "Confirmation" comes from physical/ technical affections related to the instrument (saxophone).
    Now, I do not play saxophone, but I've noticed I feel kind of natural to flick my fingers in physically convenient manner coinciding in time with Bird's, but made of different notes. I guess, for example, where on sax its natural and easy to blast 4 chromatics is on pair with blasting some boxy pattern on guitar.
    (Of course, on guitar, it's position depending, so if you are in the right one, 4 chromatics come out just as easy.)
    One is not worthier than another. It happened that Bop was made on Sax, so now we "have" to play chromatics in spite the fact that boxy patterns have already won the battle for the ear, long time ago.
    After realizing this, one can just relax, play comfortable stuff and work on refinement, like accenting the distinction btw trioles and swung 1/8s as they come. Just like Bird did. He noodled around, wrote it down and refined.

    On the other hand, "Donna Lee" is one all the way written piece. All preconceived and intentional. Musician is expected to interpret it, to know how and to have the means to do it. All the good notes are there, we are free to add affections. Even better if we can control them.

  4. #53

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    Donna Lee sounds like some hip little lick based Composition for other Musicians Only.

    Where 'Confirmation' sounds like a real Tune with Melody and feel .

    *To my ears ..not even in the same class of Composition etc.

    *One could make the case that I have no credibility to make this assessment - agreed ..lol .





    Also Parker seems to be playing amazingly well on
    'Confirmation' - even for Charlie Parker - was this ahead of it's Time - leading the way for Trane and Next Generation Players ?

    Also Confirmation uses some' Double Time' for speed, energy etc. versus speeding up the entire Tempo to Cartoonish - 'No Groove ' Tempos like some do on' Donna Lee'.

    EDIT- 'Lick Based' Composition regarding Donna Lee - is probably wrong terminology - it does NOT sound like a bunch of licks stitched together into a Song[ with Charlie Parker's ability or Ted Greene's ability we
    often would not be able to tell this anyway]
    But I mean when I hear it played it sounds more like one continuous well constructed 'Lick' rather than a Melody..
    Last edited by Robertkoa; 04-22-2017 at 08:15 AM.

  5. #54

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    Quote Originally Posted by Stevebol
    just listened to Kenny Burell/Coltrane on Freight Trane. I get that. Sounds like happy blues. I don't get Confirmation. It sounds too random.
    To my ears - a lot of Jazz especially the earlier stuff is mixed ..or mic'ed ..with the Rhythm Section too low so the lead instrument kind of sounds all alone rather than' in Context ' to the bassline and piano.
    So it sounds more 'Random' without hearing the Bassline and Chords to my ears also - but Confirmation for some reason makes more sense to my Memory as a Song than Donna Lee.

    Remembering that I don't have the ears of many People on here that could start sketching out the right Chords just hearing something a few times.

    One of the worst things to do to a Singer on a Recording or a Live PA Mix is to have the Vocal wayyyyy to loud in the Mix - makes it sound like a Karaoke Amateur .

    This is a very common mistake Guitarists make when they self produce..even some Pros.

    Benson is never too loud in the Mix- you always hear him in context of the Rhythm Section...

    On Confirmation - the Keyboard sounds like he's laying back in deference to Parker maybe too much...
    I imagine CP was intimidating to a lot of Musicians without trying to be because except maybe Art Tatum and a few others ...nobody played Jazz at that Level before (?) Is this correct ?
    Last edited by Robertkoa; 04-21-2017 at 09:24 AM.

  6. #55

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    Quote Originally Posted by Robertkoa
    To my ears - a lot of Jazz especially the earlier stuff is mixed ..or mic'ed ..with the Rhythm Section too low so the lead instrument kind of sounds all alone rather than' in Context ' to the bassline and piano.
    So it sounds more 'Random' without hearing the Bassline and Chords to my ears also - but Confirmation for some reason makes more sense to my Memory as a Song than Donna Lee. ...
    Unfortunately, once some "name" sets a standard "they" all try to emulate, so probably that is the reason, not composition it self, that more contemporary recordings of confirmation I happened to hear, mostly live recordings, sound similarly disconnected.
    In Bird's recording of confirmation, I find the improvisation much more connected than the head, probably because he did not have time to think it over with too much cleverness applied.

    I disagree about Donna Lee being "lick based". To me It's more like an exercise in arpeggios and enclosures, which, of course, you can choose to interpret as licks, but it's not preset where one lick starts or ends, you can make any number of personal licks out of a given stream of notes, unless you want to copy particular recording/ version.

    On another hand, I find quite a lot of Bird's playing lick based, also reflected in his compositions, as in: "Let's see, what would be the most stupidly unexpected place I could start this one from my beg of licks and still end good, with as little effort as possible?".
    I see this could sound aggressive towards Bird, but I'm not trying to be. I think "we" all do it that way, to an extent. I certainly do. I'm just not as talented player as Bird was to do it good enough, especially not in real time.

  7. #56

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    I kind of subscribe to the statement by Miles that DL was written by him - I don't think he was BS'ing here. It's stylistically and motivically similar to Little Willie Leaps.

    Charles McPherson sums it up best (the whole interview is great, but check down in the body of the text.)

    Interview with Charles McPherson | DO THE M@TH

  8. #57

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    Quote Originally Posted by Vladan

    On another hand, I find quite a lot of Bird's playing lick based, also reflected in his compositions, as in: "Let's see, what would be the most stupidly unexpected place I could start this one from my beg of licks and still end good, with as little effort as possible?".
    Haha, I love this - I can imagine him actually thinking this way true to his mischievous spirit.

    He used to turn rhythm sections around didn't he? Such a practical joker.

  9. #58

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    What do you make of this?


  10. #59

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    Quote Originally Posted by christianm77
    I kind of subscribe to the statement by Miles that DL was written by him - I don't think he was BS'ing here. It's stylistically and motivically similar to Little Willie Leaps.

    Charles McPherson sums it up best (the whole interview is great, but check down in the body of the text.)

    Interview with Charles McPherson | DO THE M@TH
    I imagine one of them wrote it, then they tried playing it in a old fashioned swing canon manner, but "imitation" could not quite follow the "leader", so they tried to play it unis on "leader" beats, then on "imitation", or maybe another one said, look it will still be good, if we remove the "leader" and play only "immitation", then they both agreed that it's not only good to play it half bar delayed, but is even better than the real thing, so they've made a deal how to split the money and autorship credits.

  11. #60

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    Quote Originally Posted by christianm77
    I kind of subscribe to the statement by Miles that DL was written by him - I don't think he was BS'ing here. It's stylistically and motivically similar to Little Willie Leaps.

    Charles McPherson sums it up best (the whole interview is great, but check down in the body of the text.)

    Interview with Charles McPherson | DO THE M@TH

    Have to look at the times and back then and the artist and record companies didn't want to have to get permission and pay royalties to some one else. So artists would jam on a tune and improvise a new head for the tune. Being the head came from a jam different people would claim they wrote it, so who got credit was always an issue. A good DNA test is did that person claiming they wrote a song every write another song similar to that again, was their playing style at the time like the tune, if not they probably weren't the composer.

  12. #61

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    Quote Originally Posted by ragman1
    What do you make of this?

    Well Govan is a genuine virtuoso isn't he? I have it on good authority from a colleague who knows him well that he is a badass country player, for instance, which you can hear a bit here.

    In terms of his playing of the head DL - I like his phrasing. His improvisation is him doing awesome Guthrie stuff on the changes, not so much jazzy jazz.

    But I feel there's a lot of hornlike phrasing in Guthrie's playing - it's one of the most attractive things about his playing for me.

  13. #62

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    Quote Originally Posted by Robertkoa
    Donna Lee sounds like some hip little lick based Composition for other Musicians Only.

    Where 'Confirmation' sounds like a real Tune with Melody and feel .

    *To my ears ..not even in the same class of Composition etc.

    *One could make the case that I have no credibility to make this assessment - agreed ..lol .





    Also Parker seems to be playing amazingly well on
    'Confirmation' - even for Charlie Parker - was this ahead of it's Time - leading the way for Trane and Next Generation Players ?

    Also Confirmation uses some' Double Time' for speed, energy etc. versus speeding up the entire Tempo to Cartoonish - 'No Groove ' Tempos like some do on' Donna Lee'.
    After listening some more, I agree.

  14. #63

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    Quote Originally Posted by Robertkoa
    Donna Lee sounds like some hip little lick based Composition for other Musicians Only.

    Where 'Confirmation' sounds like a real Tune with Melody and feel .

    *To my ears ..not even in the same class of Composition etc.

    *One could make the case that I have no credibility to make this assessment - agreed ..lol .
    That's one of quite a few perceptive comments you have made. I'm still digesting the post you made on Benson and Martino's feel - completely on the money, counterintuitive and very interesting. At some point I will offer my half digested thoughts :-)

    Anyway, DL could convincingly be the work of talented apprentice 'putting it together' - as a line it simply runs the changes. Which is not only reminiscent of Miles's credited bop era compositions - such as
    - but also Miles's improvisation at this point, which rhythmically is basically strings of 8th notes - 'running style trumpet' as Miles might call it. Interesting, given the master of space and time Miles was to become in the next decade.

    Confirmation as you say is much more communicative. The double time phrasing in particular - a true double time with funky syncopations and triplets of its own, not just strings of 16th notes used by lesser players. Bird was amazing at that.

    Also Parker seems to be playing amazingly well on
    'Confirmation' - even for Charlie Parker - was this ahead of it's Time - leading the way for Trane and Next Generation Players ?

    Also Confirmation uses some' Double Time' for speed, energy etc. versus speeding up the entire Tempo to Cartoonish - 'No Groove ' Tempos like some do on' Donna Lee'.
    Ha - too true.

    Y'know the over reliance of strings of notes - 8ths at tempo, 16ths at medium - is a bit of a stereotype of jazz feel, and yet you often hear this sort of thing (esp. with guitarists) unleavened by anything else - not even a triplet or two! To me that says players thinking in scales and arpeggios, not in phrases.

    People might look at transcriptions and see 8th notes and 16ths in the Omnibook. Listening to the solos reveals something deeper.

    Anyway, Bird is always a breath of fresh air to my ears. Perhaps the most rhythmically sophisticated jazz musician ever, along with Sonny Rollins.
    Last edited by christianm77; 04-21-2017 at 07:42 PM.

  15. #64

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    Here's a sort of video version of the thing I posted earlier.



    Jet lag baby!

  16. #65

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    Great! Some love jazz musicians who think and improvise minor over major songs.








    As a musician one must make the happiness sound fragile and threatened, the bitterness however magical and beautiful.

  17. #66

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    Quote Originally Posted by medblues View Post
    How do you differentiate major blues from dominant blues ? I have heard them mentioned as being the same.

    To me the difference is not Major Blues vs Dominant Blues...

    It's Major 7th Blues vs . Dominant Blues[ Major Chord with b7]

    Someone Mentioned Hendrix Red House so I just Sang the Melody using Major 7ths for the I and the IV and it Works - sounds like Lounge Singer doing a Jazz Lite Version of Hendrix...lol - though Tony Bennet could probably make it kinda cool-

    NOW where you will really feel the difference- many of the lines from the Tune and the great fills will not
    work over Major 7th Chords because obviously you can not target b7ths on a Major 7th chord.

    You CAN target a b7th on a Major Chord with no 7th

    Listen to about 37 Rolling Stones Tunes...lol or try it.

    So the Division is MOSTLY I-b7 IV-b7 OR Majors no seventh// versus I M7 IVM7

    But in Rock we play b7 to Root of Chord over Majors (no seventh) or Majors with b7 all day .

    There are other differences of Phrases that have to be adjusted' chromatically for Major7ths.

    But when you change Red House to Major 7ths you get an instant 'feel' color change and definitely you can't use the Major 7th on the V chord.

    HOWEVER - I disproved what I thought would happen because much of the Original with slight modifications works -
    But you lose the amazing Futurific Otherwordly Delta Blues Feel and great fills that was Hendrix on this Track....and the unique stretchy Time feel from playing behind the Beat but not being off time-

    Also (Chris Woods ? reed Player in Traffic )- on 'Feelin' All Right 'Sax Solo does this amazingly well , playing behind the beat but in Time also Blues over straight Major Chords.

    I think People who can't 'hear' Jazz Blues well especially Guitarists should listen to George Benson's early stuff then later stuff- aside from being great - he has the ability to play Blues - Eloquent , sophisticated but very 'raw' for a Jazzer-

    A LOT of Pentatonic stuff too with maybe different endings resolving into the chord but I think Benson is a great Gateway into Jazz for Rockers/ Straight Bluesers etc who play Guitar and want to expand into Jazz a little OR a lot.

    You should be able to hear Jazz Blues easily with Benson...and you will hear him play Blues over non Blues chord changes..

    I always liked Benson even before I started using Jazz type phrasing and lines - it was because of his Blues and Time Feel though I did not know it when younger.( did not know why I liked Benson ).

    Another Ib7 Song to show the DIFFERENCE between I b7 and IMajor 7th is 'Shotgun' by Junior Walker and the All Stars .
    HERE if you cange the Ib7 to a IMajor7th and sing the Melody - you are screwed because Melody is based on Blues Scale Blue Notes and you will feel the awkward clash over a I Major Seventh- it just doesn't work at all.

    Remember that as a Player- I always used extended chords and experimented with chords as a Writer but
    did not play Jazz - and still don't really - although if you expand R&B or even Fingerstyle stuff over certain chords it resembles Jazz and I do phrase lines like a Jazz Guy- now only for a short time relatively..lol.

    So I have a unique 'window' into this stuff because the experienced Jazz Players do so much instinctively they might not think about this ( or need to).

    Feel free to correct above -not sensitive about that at all and have learned a lot from the Guys here.

    I developed the chops myself - but somebody said earlier in the Thread -' when something works wear it out' - which is fine - I get it.

    But Blues 60 years after BB King 50 years after Clapton and Hendrix etc. And 30 years or so after Carlton/ SRV and I could put in other names for Rock Fusion /Jazz/ R&B so if you play for fun ( probably best idea lol) that's one thing..

    But a lot of musical forms are worn out to my ears/ mind so to contribute if someone wants to try takes being Gifted
    OR a lot of thought and then Release From Thought or whatever works ( except mind altering drugs won't work- an Evil way to hold back the Competition or a Mistake ).
    If I wasn't trying to evolve things ( and benefit if possible) I wouldn't care about this stuff nearly as much.
    Last edited by Robertkoa; 04-23-2017 at 07:59 AM.

  18. #67

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    Quote Originally Posted by christianm77
    I kind of subscribe to the statement by Miles that DL was written by him - I don't think he was BS'ing here. It's stylistically and motivically similar to Little Willie Leaps.

    Charles McPherson sums it up best (the whole interview is great, but check down in the body of the text.)

    Interview with Charles McPherson | DO THE M@TH
    Great stuff, thanks! Real food for thought there. He's so right about asymmetry, and approaching the beat in different, unexpected ways. The guys who play straight up and down don't get it and are boring to me, however good they play. We're a monorhythmic culture, but Bird and Lester and the true greats had that 'snake', as Charles puts it.

    Dizzy and Miles (who, ironically, McPherson says plays 'straighter'---maybe early on, but he took rhythm way out and way forward later) always talked about the 'beat in-between the beat'. Barry Harris used to get on MY case for playing in an obvious way, and he was right. He turned me on to the 'circle', and it opened up a world for me. He said once, hearing me sing something: 'Hear how that was all in-between? If you did that on guitar it would sound mighty fine'.

    On a personal note, I encountered Charles a few times, and he's a wonderful man. We had some mutual friends from San Diego, and I called him when I took an adventurous trip out West in '89. Though I was a stranger he spent maybe an hour on the phone with me, advising me how to get gigs there (I was thinking of moving---trying to escape NY even then). It was at a pay phone, and I must have put five pounds of dimes in there! Just could not have been warmer or more brotherly (fatherly?) to a guy who, after all, he hadn't heard play. I would like to contact him again. The rhythm stuff he speaks of has my brain percolating.

    A great man, and when he hooks up with Tom Harrell, look out!!
    Last edited by fasstrack; 04-22-2017 at 07:42 AM.

  19. #68

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    Quote Originally Posted by Robertkoa
    It's Major 7th Blues vs . Dominant Blues[ Major Chord with b7]


    NOW where you will really feel the difference- many of the lines from the Tune and the great fills will not
    work over Major 7th Chords because obviously you can not target b7ths on a Major 7th chord.
    You CAN target a b7th on a Major Chord with no 7th.
    Rock players' limited harmony (sometimes) lets them have more harmonic freedom. With those 'power chords'---like C2, etc., with just a root and 5th you can play any kind of 3rd or 7th---or just leave 'em out and it works or sounds 'open'.

    Tom Harrell is expert at this. His simplest tunes, like Moon Alley, are wide open as far as what kind of 7th or 3rd to use or not use. It perks the ears up.

    I do think one can over-use blues. There's a time and place for everything, and you can get corny or obvious putting blues on any old thing, like a pretty ballad.

    When in Rome....Just play the style and its vocabulary. Plenty to work with there for a creative, inquisitive mind...

  20. #69
    Quote Originally Posted by fasstrack
    Barry Harris used to get on MY case for playing in an obvious way, and he was right. He turned me on to the 'circle', and it opened up a world for me. He said once, hearing me sing something: 'Hear how that was all in-between? If you did that on guitar it would sound mighty fine'.
    Very cool. Can you explain what is meant by the circle?

  21. #70

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    Quote Originally Posted by fasstrack
    Rock players' limited harmony (sometimes) lets them have more harmonic freedom. With those 'power chords'---like C2, etc., with just a root and 5th you can play any kind of 3rd or 7th---or just leave 'em out and it works or sounds 'open'.

    Tom Harrell is expert at this. His simplest tunes, like Moon Alley, are wide open as far as what kind of 7th or 3rd to use or not use. It perks the ears up.

    I do think one can over-use blues. There's a time and place for everything, and you can get corny or obvious putting blues on any old thing, like a pretty ballad.

    When in Rome....Just play the style and its vocabulary. Plenty to work with there for a creative, inquisitive mind...
    Good point about overusing Blues - if it's a really pretty Ballad - it should probably be really pretty notes...

    Throwing Blues into every Song just because you CAN or throwing speedy stuff into every Song just because you CAN might make a very monotonous CD or Performance.

    I 've even thought of one 'Side' being quiet, intimate , sensual stuff someone might use a background for Tranquility/ Meditation etc. or to Seduce their Wife/ or GF etc. and the other 'side' be the super Rhythmic / Dance/ Workout - energy 'side' of a CD , for example.
    Last edited by Robertkoa; 04-22-2017 at 09:23 AM.

  22. #71

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    Quote Originally Posted by matt.guitarteacher
    Very cool. Can you explain what is meant by the circle?
    I THINK he meant a sort of rhythm continuum that you dip into---like putting your toe into a stream---or something. That sounds quasi-metaphysical and high-falutin', I know---but it's TRUE.

    In practical terms, I think Barry means don't do the obvious straight up and down 8th note thing, but be secure in rhythm so you can come in or drop out anywhere in the pulse or measure. He did give Sonny Stitt as a (negative) example: 'He could fool you into thinking he was like Bird on a fast tempo, but on a ballad he didn't have the 'circle'. Straight up and down. Stitt was great, but Barry has a point.

    I feel for us we should master the Freddie Greene 4 on the floor thing first, THEN take it out. That, too, is a circle. Freedom comes from discipline, then you can swing or throw it away if that's your pleasure.

    Hell, it ain't like I'm saying anything new or deep here...

  23. #72

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    Quote Originally Posted by fasstrack
    I THINK he meant a sort of rhythm continuum that you dip into---like putting your toe into a stream---or something. That sounds quasi-metaphysical and high-falutin', I know---but it's TRUE.

    In practical terms, I think Barry means don't do the obvious straight up and down 8th note thing, but be secure in rhythm so you can come in or drop out anywhere in the pulse or measure. He did give Sonny Stitt as a (negative) example: 'He could fool you into thinking he was like Bird on a fast tempo, but on a ballad he didn't have the 'circle'. Straight up and down. Stitt was great, but Barry has a point.

    I feel for us we should master the Freddie Greene 4 on the floor thing first, THEN take it out. That, too, is a circle. Freedom comes from discipline, then you can swing or throw it away if that's your pleasure.

    Hell, it ain't like I'm saying anything new or deep here...
    Yeah I definitely feel time more and more as a circle. You can put your upbeat in different places on that circle.

    I remember Barry giving this exact quote regarding Stitt somewhere online but instead of 'circle' I remember him saying 'triplet' (IIRC quarter triplets.) Not sure.

    Anyway, I googled it to check, and found this article by Brad Mehldau:

    Carnegie 05 — Brad Mehldau

    'Still, looking at Dexter’s solo and then listening to Bird on any number of tunes with a similar chordal progression will highlight the revolutionary aspect of Bird’s style: Bird’s time is dead-on perfect, yet his phrasing is completely unfettered. His phrases start and end all over the place at different parts of the bar, and there is a far greater amount of rhythmic variety in his solos than is to be found in all of his predecessors. This is fitting. It is always the case that the inventor of a new means of expression has a seemingly unlimited reservoir of ideas; his followers, on the other hand, invariably take a piece of what he did and simplify it. With Bird, it is particularly easy to demonstrate this maxim, when we look at hard bop and everything that followed in his wake, right up until today.'

    Later,

    'Bird’s solos were full of triplets that were interspersed between regular 8th notes; this feature of his solos gave them rhythmic variety. I’ll never forget a master class I attended years ago that the great jazz pianist and teacher Barry Harris was teaching. He was chiding all of us for playing endless chains of 8th notes. We may have absorbed some be-bop, but we weren’t dealing with triplets for the most part. We could have a little comfort in the fact that we weren’t alone – a lot of the great hard bop stylists from the 50’s onward didn’t really have triplets in their playing either. Having that in your playing, Harris maintained, was necessary for authentic bop expression – otherwise it was something else, something incomplete and weaker.'

    BM points out that many of hard bop players didn't play those triplets either.

    As a direct recipient of the Harris triplet tirade, it did get me listening harder, which is always a good thing. Years later, the triplet thing has become important to me when playing this music - bop, swing, straight-ahead jazz - whether explicitly or implied by accents etc.

    I see it as a polymetric thing - the quarter triplet for instance should be felt in your playing as a flavour whether or not it's explicit in your line. 6/8, Bembe, West African Bell Patterns.

    I really like Larry Koonse's thing - that the quarter triplet starts on the 2nd triplet of one - I think builds another authentic flavour into the rhythm. And the 8th triplet embellishments 'pop out' naturally. At least that's how it feels to me... Layering up rhythms... 1/8 notes, 1/4 triplet, tresillo, clave, cascara etc.... 'Fill your bar up with rhythm.'

    It also feels to me paradoxically that really getting into the 1/4 triplet helps with double time phrasing. Anyone else feel this?

    TBF - this is something I think IS understood by more modernistic players. They just tend to express it differently. BM is a case in point, Koonse credits him with extending the 1/4 triplet in odd time and freeing up jazz phrasing in these situations, which is quite an important development.

    Anyway here is a Barry video on it:


  24. #73

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    Quote Originally Posted by christianm77
    Yeah I definitely feel time more and more as a circle. You can put your upbeat in different places on that circle.
    I like this. Have you seen the time concept in flamenco, the clock? Someone needs to appropriate it for jazz...

  25. #74

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    Sorry - I forgot to mention Joel's point re: Freddie rhythm guitar - that's where I started feeling the circle.

  26. #75

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    Quote Originally Posted by christianm77
    I really like Larry Koonse's thing - that the quarter triplet starts on the 2nd triplet of one - I think builds another authentic flavour into the rhythm.
    Jim Hall was a master at leaving out the first of a group of triplets (then he would build compositionally from these little fragments. That takes patience, courage---and you can always tell a player/composer. He really had the rhythm mastered, too----just didn't shove it down our throats).

    Jimmy Raney, when I brought that leaving the first triplet note out up, smiled and said simply

    'He INFERS a lot'.

    Well put. (He also told me Jim Hall was his favorite guitar player)...
    Last edited by fasstrack; 04-22-2017 at 06:29 PM.