The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by fep
    This thread brings to mind the often disparaged and even bullied Kenny G.
    He didn't check with us before making a career move and look how it worked out for him.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by christianm77
    I've played Resolution a few times. To be honest, I always feel it lacks something.

    you have to make it your resolution!!

    cheers

  4. #28

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    Even the U.S. Navy has had a go at it (pretty good version actually!)


  5. #29

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    It depends much on which Gods you adore.

  6. #30

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    I’m just gonna weigh in with what I expect might be a contentious opinion .... here goes

    I think it’s quite easy sometimes to get confused about what you like about a track when it turns you on and you want to play that music. Is it the song or the performance?

    A lot of great jazz has been played on comparatively slight compositions.

    When you look at a lot of the heads on A Love Supreme it seems to me that the sheer intensity and musicianship of the Trane Quartet does most of the heavy lifting. That’s not to say I think the writing is bad - far from it, it’s exactly enough to facilitate one of the greatest musical adventures of all time for those exact musicians.

    For me I don’t have the skills to play these apparently simple songs well for starters, let alone be THOSE guys lol.

    Further, playing these tunes in a jazz gig context can run the risk of sounding a bit ‘tribute band’ - something we see a lot here in London where most of the straightahead gigs seem to be people playing classic albums. This to me is a little at odds with the original spirit of the music, but you can’t blame musicians who love that music, or the promoters who want a full club. In fact many players I’ve spoken to who do this see it as a necessary compromise rather than something they really want to do.

    I’m not saying it’s impossible to do your own thing with that music even in that type of tribute project, but you have to get past the iconic aspect of the original performance. This is obviously not so much of an issue with a well worn standard song like My One and Only Love because the song is not irrevocably tied to this or that recording. Jazz originals that have become jazz standards such as those by Coltrane, Wayne Shorter etc have this baggage attached to them. You can still do stuff with them of course, but you have do more work.

    This comes for me, a working player who is keen to try and do something with music, which is not everyone’s objective at all; in terms of jams, sure why not? Play whatever you want to and have fun.

  7. #31

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    Quote Originally Posted by Jonah
    It depends much on which Gods you adore.
    Bacchus obviously. *hic*

  8. #32

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    Quote Originally Posted by christianm77
    I’m just gonna weigh in with what I expect might be a contentious opinion .... here goes

    I think it’s quite easy sometimes to get confused about what you like about a track when it turns you on and you want to play that music. Is it the song or the performance?

    A lot of great jazz has been played on comparatively slight compositions.

    When you look at a lot of the heads on A Love Supreme it seems to me that the sheer intensity and musicianship of the Trane Quartet does most of the heavy lifting. That’s not to say I think the writing is bad - far from it, it’s exactly enough to facilitate one of the greatest musical adventures of all time for those exact musicians.

    For me I don’t have the skills to play these apparently simple songs well for starters, let alone be THOSE guys lol.

    Further, playing these tunes in a jazz gig context can run the risk of sounding a bit ‘tribute band’ - something we see a lot here in London where most of the straightahead gigs seem to be people playing classic albums. This to me is a little at odds with the original spirit of the music, but you can’t blame musicians who love that music, or the promoters who want a full club. In fact many players I’ve spoken to who do this see it as a necessary compromise rather than something they really want to do.

    I’m not saying it’s impossible to do your own thing with that music even in that type of tribute project, but you have to get past the iconic aspect of the original performance. This is obviously not so much of an issue with a well worn standard song like My One and Only Love because the song is not irrevocably tied to this or that recording. Jazz originals that have become jazz standards such as those by Coltrane, Wayne Shorter etc have this baggage attached to them. You can still do stuff with them of course, but you have do more work.

    This comes for me, a working player who is keen to try and do something with music, which is not everyone’s objective at all; in terms of jams, sure why not? Play whatever you want to and have fun.
    To some degree any great player is a world in his self.

    But Trane is one of the most unconventional players.
    He was my greatest impression in jazz in early years. He is still probably the closest jazz player to me in general, not that I would play excatly like that, I mean more aestetics, attitude, understanding of life and music that I can hear in his playing.


    There is almost nothing you can do with that without being Trane))) If I can say so. His compositions (if we treat them as standards) are mostly directions...
    like you ask someone the way and he points 'this way' and that's it.. no roadmap, no pitstops, no guides... just that straight intense look in the eyes and gesture: this way (even 'maybe this way')..

    His music has very interesting 'border-line' quality..
    He is extremely passionate but at the same time intelligent with great diginity.
    He is breaking every barrier but never tactless or blatant
    he is extremely intensive but at the same time he is never imposing, he always shows that you are the personality that may have a personal opinion.

    He is always on border of everything.
    And he is there with the first note, no preparations.

    Actually he looks the same, he looks as if he is all at the very surface of his physical body, his eyes are not eys, they are just he.

    There is nothing sacreligious in playing his music, but else who can be as powerful and straightforward and humble and delicate at a time?

  9. #33

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    Quote Originally Posted by Jonah
    To some degree any great player is a world in his self.

    But Trane is one of the most unconventional players.
    He was my greatest impression in jazz in early years. He is still probably the closest jazz player to me in general, not that I would play excatly like that, I mean more aestetics, attitude, understanding of life and music that I can hear in his playing.


    There is almost nothing you can do with that without being Trane))) If I can say so. His compositions (if we treat them as standards) are mostly directions...
    like you ask someone the way and he points 'this way' and that's it.. no roadmap, no pitstops, no guides... just that straight intense look in the eyes and gesture: this way (even 'maybe this way')..

    His music has very interesting 'border-line' quality..
    He is extremely passionate but at the same time intelligent with great diginity.
    He is breaking every barrier but never tactless or blatant
    he is extremely intensive but at the same time he is never imposing, he always shows that you are the personality that may have a personal opinion.

    He is always on border of everything.
    And he is there with the first note, no preparations.

    Actually he looks the same, he looks as if he is all at the very surface of his physical body, his eyes are not eys, they are just he.

    There is nothing sacreligious in playing his music, but else who can be as powerful and straightforward and humble and delicate at a time?
    It's a big ask.

  10. #34

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    Quote Originally Posted by christianm77
    It's a big ask.
    I know.

  11. #35

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    I say go for blasphemy. It's the original victimless crime.

  12. #36

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    Quote Originally Posted by grahambop
    Even the U.S. Navy has had a go at it (pretty good version actually!)

    I'm a bit impressed by that performance and the arrangement. Hats off to the arranger and the soloists:

    arr. by Senior Chief Musician Steve Williams
    featuring (in solo order):
    Chief Musician Peter Revell (bass)
    Master Chief Musician Phil Burlin (tenor saxophone)
    Musician 1st Class Dan LaMaestra (piano)
    Musician 1st Class Kevin McDonald (drum set)