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  1. #1

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    Most bebop or hard bop goes by faster than my fingers can keep up, but after listening to our good friend, DutchBopper playing a relaxed Boplicity, I thought there must be a few bop heads I could work up.

    So, any suggestions?

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Quote Originally Posted by Rob MacKillop
    Most bebop or hard bop goes by faster than my fingers can keep up, but after listening to our good friend, DutchBopper playing a relaxed Boplicity, I thought there must be a few bop heads I could work up.

    So, any suggestions?
    Yardbird Suite, Ornithology, Blues for Alice, Scrapple from the Apple. And they don’t have to be played at blistering tempi.

  4. #3

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    Billie's Bounce, Joy Spring, Relaxin at Camarillo, can all be played really fast, but they also sound great at a moderate tempo as well.

  5. #4

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    Joy Spring, My little suede shoes, Twisted, Now's the time, Lady Bird, Lulu's back in town , ......

  6. #5

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    Thanks, guys. I’ve heard most of them, but not always at relaxed tempos

  7. #6

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    Quote Originally Posted by Rob MacKillop
    Thanks, guys. I’ve heard most of them, but not always at relaxed tempos
    Blues for Alice and Ornithology are not that hard. Doxy is really easy! Tenor Madness and Cool Blues too. O yeah, Boplicity of course due to its moderate tempo.

    DB

  8. #7

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    You can absolutely do Yardbird Suite, Sandu and Tenor Madness. I say this with full confidence because I can do it.

  9. #8

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    I've played Tenor Madness before. I'll now get to work on some of the others. Thanks for the recommendations.

  10. #9

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    Scrapple From The Apple,
    Barbados,
    Thriving From The Riff
    Straight No Chaser

  11. #10

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    Does Cool Blues count?

  12. #11

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    Oleo - seems to get more interesting rhythmically the slower you play it.

  13. #12

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    Well the DB got me going on Joy Spring with his stuff he put up. For the past 2 weeks I have been woodshedding on the tune about an 1 hour plus a day. I had it down years ago but had not played it in long time. I now can manage it low and high and in-between. I have even took to doing it chord melody.

    My question is that I was trying to play along with Clifford Brown's version and to get it right on the money and phrasing is actually pretty hard. Once in a while I make it but usually I get sloppy somewhere or just not right on the money. Depending on the tempo it can be ok or very difficult. I can solo on the tune on the Brown recording not fast as such but getting the phrasing on the head in unison is a taskmaster. I found a recording of Larry Coryell and Emily Remler that I had heard long ago but frankly they take it too fast for me to get right on the money.

    I guess my chops cannot cut it...........anyone else struggling?

  14. #13

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    Hey Deacon,

    Staying true to form, I got a bunch of helpful advice on correcting how I play summertime, so I spent the day learning Blue Bossa by ear.

  15. #14

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    Quote Originally Posted by deacon Mark
    Well the DB got me going on Joy Spring with his stuff he put up. For the past 2 weeks I have been woodshedding on the tune about an 1 hour plus a day. I had it down years ago but had not played it in long time. I now can manage it low and high and in-between. I have even took to doing it chord melody.

    My question is that I was trying to play along with Clifford Brown's version and to get it right on the money and phrasing is actually pretty hard. Once in a while I make it but usually I get sloppy somewhere or just not right on the money. Depending on the tempo it can be ok or very difficult. I can solo on the tune on the Brown recording not fast as such but getting the phrasing on the head in unison is a taskmaster. I found a recording of Larry Coryell and Emily Remler that I had heard long ago but frankly they take it too fast for me to get right on the money.

    I guess my chops cannot cut it...........anyone else struggling?

    I have never understood this obsession with playing a tune exactly as someone else did on a recording. In all likelihood the original artist would neither choose nor be able to play it exactly the same way again. I guess I have a different understanding of what it means to play jazz.

  16. #15

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    Quote Originally Posted by pcjazz
    I have never understood this obsession with playing a tune exactly as someone else did on a recording. In all likelihood the original artist would neither choose nor be able to play it exactly the same way again. I guess I have a different understanding of what it means to play jazz.
    You're confused, studying jazz is different than playing jazz.

  17. #16

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    If Monk is boppin' enough for you, try Well You Needn't, Ryth'ning, Bemsha Swing, and maybe I Mean You. All sit well on guitar. And elsewhere there's Mr. PC, and The Blues Walk.

  18. #17

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    fast comes after slow

    I want to HEAR it first..is it 5 or 6 notes in bar one?

    is there "anticipation" implied .. on the upbeat or downbeat..

    can i sing it..(scat that is)

    is it a series of phrases..connect the first two

    what is the most economical fingering that will get the feel of the phrase

    yeah I watch vids of Bill Evans during an interview..and he is talking about a tune .. and then he plays part of it..and then you realize

    he knows every bar of the tune and can play it from any bar