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Going through my channel pruning my output (a lot of vids about the same subjects lol) there’s a few that I think were interesting and didn’t do that well.
so here’s a cool lick from the archive that may interest
I put the music/tab in rather small - it’s legible if you watch it on a computer not a phone. So here they are
I may remake this vid and put it out with a better title and thumbnail actually.
In any case I think this stuff sounds hip AF.
Must revisit this type of thing, not unlike some of Lage Lunds ideas. There’s so many roads untaken….Last edited by Christian Miller; 12-03-2023 at 07:48 AM.
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12-03-2023 07:25 AM
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What I want to know is:
If it wasn't for the blurb on the video, how would anyone know what he's annihilating? Or, indeed, if he is actually annihilating anything?
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Originally Posted by ragman1
jkjkjk
The chord changes behind him? The bass? The notes he’s playing?
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You are undoubtedly correct, sir. I knew there was an answer somewhere.
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Sounds great to me. Good ole Free-bop!
To me it's about the intervallic line construction and the shapes.
Lots of interesting chromatic formulations placed in relation to the harmonic and rythmic context.
Somethings bring to my mind Warne Marsh at times.
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I like Donny. If it wasn't for the blurb on the video the word annihilate wouldn't come to mind.
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I was gonna say it was sharp 11 music, but I see it’s not…. Ah well time to watch a ‘those seven times Mike Brecker went beast mode’ vid
(Only seven?)
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Christian -
Can I be honest? Is this stuff actually so new or innovative? He's using the usual tension notes on a maj7 chord, the sharp 5 and 9 (he doesn't use the #11). He also puts in the b7 but as a passing note to the maj7. And there's a chromatic run in the second bar, all of which resolves into a whole bar of chord tones.
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Originally Posted by ragman1
Certainly that's the point of the analyses I made of the lines. Note the enharmony.
Shows how far you can go with simple techniques.
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Originally Posted by Christian Miller
Part of me is wondering if he was thinking Bbm pentatonic, usually used over a G7alt but modified for the GM7.
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Originally Posted by ragman1
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Originally Posted by pamosmusic
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This reminds me of later period Scofield, as he's gotten less constrained by the harmony. His recent album "Uncle John's Band" has a lot of this kind of harmonic overlays on relatively simple tunes (UJB, Mr. Tambourine Man, Old Man by Neil Young, as well as a couple of standards, etc.).
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Originally Posted by Dean_G
A perfect example of "White Jazz".......That everyone calls "Cool Jazz"
I am 100% sure that no Black Jazz Musician can appreciate this way of playing. Maybe they're right.
Ettore - Ettore Quaglia - Jazz Guitar and Rare Jazz Records - Home
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Originally Posted by equenda
Miles Davis birthed The Cool.
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Originally Posted by equenda
This "black jazz" and "white jazz" thing is rather an expression of structural racism engrained in a former slave holding society and of selling strategies of the recording industry.
1979 L5 CES - Sweden ~$7k
Yesterday, 03:38 PM in For Sale