Reg's Thread... live at the speed of Jazz

**Reg** · 04-05-2013, 09:58 AM

I use a DigTech JamMan pedal type... The drums are from one of my keyboards... stock. Garage Band has some great stock drums that you can play with and loop. I keep it very simple...

**sutra1** · 04-06-2013, 02:14 AM

Thanks Reg for the quick reply. Slowly but surely grasping and using your ideas so thanks for hangin with this thread. ha ha What good are big muscles when your life is hanging by a thread? Ha ha good stuff man!

**Reg** · 04-06-2013, 12:59 PM

Though I would post a tune that i had to read through... at a recording session. There are a few threads going on about sight reading... Most know how I stand on SR... it's a skill you need. But that's just my personal opinion.

The tunes a pretty standard sample of what's expected...

The pianist composed the tune and arrangement. Sax and Gui doubled melody for A sections except for written out counter lines. Piano took B section, pretty standard. The sax player and I read through together 1st and decided on articulations etc... then practiced one time through... stopped to make a few changes and then band played tune. Two takes, 1st time through was really just practice, get the form to feel right, try and make solos lock... came out OK... would be much better if we played together more. We all just took one chorus and traded 4's with drums. There just isn't the time or $.

So anyway here is the recording...

**Reg** · 04-07-2013, 11:05 AM

How about some input as to what to post on... general or specific...Whatever...

Reg

**FatJeff** · 04-07-2013, 12:34 PM

Hi Reg,

How about a little insight on your thought process behind comping? I've been working quite a bit on mine. I'm at a point now where I have some choices on which voicings or what approach I want to use for a particular trip through a tune. Given the fact that an accompanist generally comps for several choruses of a song form while the soloist does his thing, I've been playing with the idea of comping successive choruses from simple and subtle, to more complex & fuller. So for instance, chorus 1 might be very subdued 2- note punches (focusing on 3rd/7ths); chorus 2 might introduce a 3rd voice to those diads (introducing extensions or alterations); chorus 3 might use some standard 4-note drop-2s and drop-3s with more dynamic, moving lines; and chorus 4 might start using substitutions, voicings with minor and major 2nds, 4ths, etc. What do you think of this idea, and more generally, what's your thought process behind comping?

**Vladan** · 04-07-2013, 01:37 PM

@Reg
1. This last tune is like it came directly from the Realbook, to classic to comment on,. I think your originals are much more original. I liked the mix on this last one better than on previous 2. That's a sign, in the end, everything will come to sit just like it should.
2. That favourite tick lick of your's, when you ascend with something like arrpegio, and descend with a very fast scale like thing, that descending part, what is it exactly? Is it just a scale of current chord, or the previous, or the next? I know it's part of Jazz to play somewhat muffled, and you spoke quite a bit about camouflage, but it must have staryed from somewhere (current reference, as I think you call it)?

@Fatjeff
I like your question, hopefully Reg will shed some light. I'd to say, I don't think comping should build up. If we take solo will propably build up, it'd lead to more clashing should comping build up at the same time. I think comping should stay more less steady in overall complexity, with points of more complex and less complex chunks moving arround the form. Something like that.

**Bigmagic** · 04-07-2013, 02:34 PM

Reg, I'd like to hear more about your setup as well, strings, guitars, amps and thoughts on venues. @Fatjeff count me in on the comping as well Reg.

Let us know when that CD comes out.

**Reg** · 04-07-2013, 02:59 PM

Hey Jeff

The cool thing... your thinking about what your going to play, which will develop into... Jeff's bag of approaches to comping. After going through the organizational process of putting together mechanical plans of how to comp. You will have a library to choose from.

They will go from mechanical to internal... you will feel and hear them and what you play will become instinctive... as well as if you choose, a cogitative thought process.

I always start with a basic harmonic analysis of tune... reflective of how the ensemble performs the tune. This is my standard mental process... I can from listening as the performance unfolds... create my analysis.

That's my basic reference... I generally give soloist space up front to see if they have a concept or direction they want to go... generally live jazz isn't a soloist and we're the backing track. So we interact and are usually part of the improve.

Harmonic reference... the tonal reference to the tune as well as target tonal references,(different changes in the tune), as well as any given point of a tune... are going on all the time. I don't worry about which pitches I use... ie, 3rds and 7ths... there heard whether I play them or not.

Every chord change is a complete structure... all the notes don't all need to be played, but which ones I use need to help create and develop the relationship the soloist is using or help create possible choices for the soloist to develop.

I am a lead line player, my lead line should reflect the harmonic context... the changes or reference the soloist is implying or again... possibilities for the soloist. I play lots of notes... and usually have a busy part... But where and how I play is as important as what I play.

Tunes have a Harmonic Rhythm... the chordal or harmonic accent pattern of the tune... If the tune is a I VI II V... there is an accent pattern of the strong attacks. Where the harmony falls... If that's what is going on... I work around that harmonic rhythm... The I VI II V... what ever version the chords are. I then create relationships with those chords... they become constant tonal targets.... and I use how I approach them to create the effect I want the tune to have for the soloist. I can leave the tune very vanilla and have a complex weak side of that harmonic rhythm harmonic concept going on.

The soloist can play on original changes and what I do is help create more layers of relationships for the soloist's improve interact with... or the soloist can also play with these relationships. Or I can always just play vanilla changes and rhythmically create desired effect of soloist... as improve develops.

But the point is I have organized pre planed concepts... like your note addition concept. And because they have become internalized... they can change and still work.

Like I've always said... The Form of whatever you do is always the strongest basic starting reference.

Sorry to go on so much... but these concepts are not one liners.

Reg

**Reg** · 04-07-2013, 04:04 PM

Pretty standard jazz set up.

Guild artist, 94. I have high action...use Thomastic-Infeld... Jazz swing, 13 to 53.
Most of the time I play through AER ... usually my compact 60... on stand.

For most gigs it all works well, get miked for bigger venues. I do add another amp below my AER when I need bigger stage presence... depending on ensemble. When traveling use what ever the house has... I own them all, so usually no big deal.

I'm a very simple down the middle musician. I cover whatever needs to be covered. I'm playing Bass a couple times this coming week at gigs... just because I read well and can cover different feels. I stay in the pocket.

Thanks for interest on new CD... I'll give out a bunch when their finished.

Reg

**FatJeff** · 04-11-2013, 10:08 AM

Thanks for the reply Reg. Lots to consider there. It really is a process isn't it? :-)

**Reg** · 04-12-2013, 10:29 AM

Hey Jeff... sure is.

**targuit** · 05-15-2013, 06:28 AM

Ciao, Reg! New to the forum, but with fifty years of guitar playing experience (sigh...). Love your technique, but sometimes I think the task of trying to explain how one plays and hears music is just so...ineffable...that all attempts founder. So this is just my existential crying out in the dark, but bear with me.

I studied classical guitar from the age of eleven or so for about four or five years, then played rock, country, fusion, and on through my twenties and beyond jazz guitar. I also play keyboards decently, though I'm self taught on piano. And while I have a very good education in music theory and all, in the end I believe that it mostly comes down to what Joe Pass said - just learn songs.

I think you might agree (perhaps not) that when you play you have to be in the moment. Just as your thread is entitled "live at the speed of jazz", I always say that improv is music at the speed of intuition. If you have to "think about" what you are playing, you lose the mojo. You have to 'dream' the music. By which I mean "surrender" your conscious super-ego critical function and turn the wheel, so to speak, over to the subconscious. Analyzing how this process works at the speed of intuition is difficult to put into words, but for me I hear the melody in my head, perhaps as 'target tones' kind of like a point of departure and arrival and let my subconscious connect the dots and find the musical path in between. As you point out, this requires total awareness of the fret board, deep knowledge of chord structures and voice leading, and fluency in terms of fingering and technique - all acquired over time and experience to the degree that it becomes intuitive. Of course, over the years I have developed my own tricks or principles that serve me mostly to help distill my playing in the quest to make every note and phrase mean something coherent and hopefully beautiful, like poetry. But they are so simple.

From a practical point of view, I found over the years that harmonizing Segovia's major and minor diatonic scales in conjunction with learning chords and inversions in various positions on the fret board, and then applying that knowledge to actual jazz standards was key to developing fluency and voice leading skills. I understand modes, various scales, harmonic analysis and such - but when the rubber meets the road in actual playing, the theory and analysis and all the rest just falls away. I have to dream the music in the moment. I had to learn to 'surrender' to my subconscious and to become the vessel for the music. The analogy I use is like dreaming. A dream is a kind of creative organization of our thoughts, experiences, and desires. As such it can be quite wild or strange, but the theme and sequence of the dream has a kind of subconscious organization. Playing music is the same.

I know this post strays from the discussion, and I give you so much credit, both for your obvious musical talent, knowledge, and skill, but also for your generosity of time and effort in trying to explain the ineffable. I've been listening lately to Keith Jarrett's trio on YouTube, rediscovering his music which I've ignored for a number of years. But I am inspired by some of his performances over the years of standards where he just reaches down inside the music and his heart and brings forth a beauty that is profound. And in the end it's not about the technical analysis, but it's about singing from the heart. And that is what is in the end the ineffable thing that we musicians must seek on our personal journey. Just so hard to explain.

Jay

**jster** · 06-26-2013, 06:23 AM

Hey Reg,
I think I saw you write or say that you "finally" got yourself BIAB. Given that you play tunes so many different ways, do you have different BIAB files for different versions of the same tune?
Thanks

**Reg** · 06-26-2013, 09:46 AM

Hey Jster...

not really, I don't really use Biab very much. I thinks it's great and a very good tool for practicing performance etc...
Just don't have the time. And I don't like having to search for different feels or styles for backing tracks.

I don't have the skills of using it down very well.

**Vladan** · 01-03-2014, 03:21 PM

Ping!

Probably busy mixing CD?

**Boston Joe** · 01-07-2014, 02:20 PM

Hi Reg, et al.

I've been reading through this discussion for the past couple of days, and while I have no doubt that there's a lot of great information here, I'm having trouble because Reg's style of exposition does not match up with the way I learn. So basically, I'm going to try to recap what Reg as said, as I understand it, and if I'm wrong, I'd really appreciate it if someone would correct me. So... Autumn Leaves.

Original chords (First phrase)

A-7 / D7 / GMaj7 / CMaj7

First round of subs - Melodic Minor

A-M7 / D7 alt / GMaj7#5 / CMaj7#5

Second round of subs - Diatonic

A-M7 E7#11 / D7alt G#7#11 / GMaj7#5 Bm7 / CMaj7#5 Em7

Final subs - tritones

A-M7 Bb7 / G7 / D7 Bm7 / Em7 CMaj7

Am I on the right track there?

**Liarspoker** · 04-18-2014, 08:40 AM

How is that CD coming along Reg and where can we get a copy?

**Scott Jones** · 04-18-2014, 08:55 AM

Phenomenal thread, Reg!

**mrcee** · 02-26-2015, 01:04 PM

The pinky tends to be the most little used finger especially for rock guitarists. I lost the tip of my little finger decades ago and now don't even really miss it. And it might actually help for some things. There's people who've sat in front of me watching and listening for days that don't even notice it. But when I see see guitar players, who've been playing long enough to know better, not use theirs I always tell them "if you're not to use that thing give it to me". There's no lack of exercises that will address this issue of using the pinky but one basic concept to keep in mind is just use it. I believe that one definition of a position is a 4 fret span anywhere on the fretboard. Each finger should have it's corresponding fret. Nothing is etched in stone and context is everything, but never using the pinky and always using the third finger to play a note 4 frets up from where the first finger is, is poor technique. And alarmingly common even among "professional" guitarists. Country lead players, Telecaster Masters, are good at using the pinky as are of course classical and latin guitarists. Jazz players are usually good in this respect but rock players, even some big names, aren't. Guitar players can sort of get away with the three finger approach. But a bass player, never. It's like a traps player who doesn't use his feet. "Guy's got to Go"! (Charlie Christian Live at Minton's).

**king.goochan** · 07-09-2015, 09:45 PM

Wow. Thanks for this valuable thread.

**55bar** · 01-02-2016, 10:10 AM

Great stuff

**EarlBrother** · 02-12-2016, 05:59 PM

Thanks Reg.Reg's Guitar Reg a nomics.Standard Notation,Tabs and Verbage with accompanying cd.Only at the exclusive classy, up scale, intellectual Jazz Guitar Forum.Uhoh i think i missed my meds.Anyway thanks !!!!

**Robertkoa** · 02-12-2016, 10:33 PM

Originally Posted by Reg

Ahhh it's good to hear... read JohnRoss again. thanks

Ok moving on... here's a example of using a concept to control how I might approach playing a tune.
I'm using MM somewhat like a blanket or template over the tune, "Alone Together".
I modal interchange all the minor chords to MM... at least as starting point, my reference. Now I add all the related V7#11 chords to those Min chords. I really want to actually change my tonal reference to those related V7 chords.
If I have a V7 chord, I add related II- with again MM Modal interchange which could change the source of original V7 chord . I always have access to all subs.
I now have source for Blue Notes and I'm changing the original tonal concept... creating different relationships and what actual note create those relationships.

I'm doing this on the spot... like a head arrangement at most gigs...

I'll write out the arrangement of the tune which will show a set of results... that's part of playing Jazz... every time I play the tune it can change

There is always a balance to use of any concept or technique...
So here is a vid of result... rough, but I dig the resulting changes and influence on the tune.... I'll make lead sheet and post later.

I'm fairly sure I'm not very clear, verbally or musically but will help start a dialogue about this process.. which is very cool.

This is just one example of using jazz concepts to play through tunes.
Anyway check it out

Reg

This is so cool...I just listened to it now.
I love how funky you are and extreme Blues Feel ( including Vibratos and Bends).

You are one of the Blue-est Jazz Players ...even when not playing Blues Form..along with Benson
There are two levels of Blues in your playing
here -one is quoting ( seamlessly as Forum Member Henry Robinette says) Blues licks but the other far more rare and probably unteachable except by Osmosis or Empathy (lol) is beautifully dirty Blue Notes just show up in your Phrases...very cool.
And you are not above throwing in Rock and Roll/ Blues Pentatonics in even...
Interesting term you use " drawing from MM" or "drawing from " a particular Source.. and you play this super cool Solo and then Realize you like it after...lol.
Cool to see your spontaneity .

I am very impressed that you are a very funky /Rhythmic Jazzer...this is relatively rare in Jazz Guitarists and what I love about Benson... seems like your vast knowledge you "draw from" but not in a way that creates "lag" or too much restraint...

**57classic** · 03-08-2016, 08:04 AM

Reg,

I just discovered you a few weeks ago and before I ask anything, I must tell you I think you're an amazing player, a unique teacher and somewhat of a mystery. As I read somebody comment on one of your YouTube video's: "His brain is hot-wired, just like mine." Thanks for being so generous with your teaching.

Now for my question: Could you please post your melodic minor fingerings?

I'm exchanging my 5 positions for your 7 posted at the beginning of this thread.
This means reshaping my arpeggio shapes and bebop scales too but I trust it will be for the good.

Patrick

**Reg** · 03-08-2016, 11:35 AM

Thanks... yea I dig them up. I have basic two octave 7 position fingerings. All the different arpeggio patterns. And I'll try and post how I group different diatonic relationships... use G-ma7 and Bbma7#5 etc... they're really helpful for developing soloing ideas.
I've been meaning to start posting again.... I get lazy. coming soon...