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Originally Posted by AllanAllen
Maybe if I keep up with all these clips other people won’t be so nervous about posting themselves.
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12-13-2023 06:30 PM
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Originally Posted by pamosmusic
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Originally Posted by AllanAllen
And with this no less.
I played the one closest to yours slowly and twice.
And honestly I think I probably learned this from the real book or an aeborsold or something. I think it was the first bop head I learned. Never went back to make sure it actually was right.
(forgive the clunky old acoustic)
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Thanks that’s really helpful.
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Originally Posted by AllanAllen
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Originally Posted by pamosmusic
tbh the number of songs I learned that way and it hasn’t occurred to me to check if I play them right… makes me feel like I could sink into quicksand at any moment
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Originally Posted by Christian Miller
though I didn’t have the omnibook until college and this one I’ve known a looooong time.
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Speaking of Oleo and Omnibooks, my wife got me the Sonny Rollins Omnibook for Christmas last year and that thing is the bomb. Kind of surprising no one has gone through and reaaallllly cleaned up the original.
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It's an odd place to be in, if you go to a jam night or a hired gig. Do you want to be the only one playing it "right" thereby playing it wrong in the band. Even Now's The Time has different versions, RB doesn't match Parker, or my favorite the Ron Carter Houston Person duo version.
I'm constantly battling the question, why should I learn by ear if the horn guys just sight read the RealBook.
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Originally Posted by AllanAllen
Meaning yours should be the Houston Person version. Alternatively the version that works best with other people. Which, incidentally, is also fun.
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I learned Oleo after listening to the Pat Martino version on his Desperado LP, so it's closest to that. Not sure how close that is to the original Sonny Rollins version.
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A decade in New York and I only got vibed once for playing the tune the wrong way***
I was playing Four and did the second set of hits all on the and of four rather than the using the little turn Miles plays to land the first hit in that group on beat one.
The drummer kept playing the hit on beat one and yelling over the band every time.
As it happens, it was my own gig and one of the first I booked myself. He was an excellent drummer, but I played that same gig for almost two years and never hired that drummer again. Never needed to either. Actually years later the drummer was recommended to a buddy of mine who was coming from out of town and I told him no, and to try a friend of mine instead.
For what it’s worth, assuming the folks in question are able to actually play the music, I’ve usually found that people are evaluated as follows:
1. who is the best hang?
2. Who is the best fit?
3. Who is the best player?
in that order. If you don’t check the first two boxes, no one will be terribly impressed that you transcribed your Scrapple. If you do, most people won’t mind that you got it from the real book.
*** I did get smoked once or twice for not knowing a tune at all or thinking I did when I didn’t.
*** also my favorite session was run by John McNeil and he used to come up and call some easy tune like Another You and then give people these batty reharmonizations for it. He didn’t care if it sounded terrible as long as everyone went for it but I saw him light a few people up for not trying.
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I'm in the 'don't comp in the A section of the head' camp. To me it just doesn't work. Little differences in note choices are ok if you play the melody together, especially if it's so fast. As long as the rhythms are on the same page, I suppose.
The point is treat Oleo as a melodic riff. Riffs don't need comping. The B section is open of course. And the RC harmony when improvising.
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Weirdly I know some people who are terrible hang and yet are working all the time.
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I kind of forgot this was an Oleo melody thread that I completely hijacked.
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Originally Posted by Christian Miller
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Watching this, I’m working to hard at comping the wrong things. He barely plays the A, and sits out a lot.
Wynton v Herbie 1985
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