@@JazzGuitarScrapbook haha, that’s true. Just the 335 is a lot more expensive here in Canada. I was looking at the Es-335 figured ice tea colour or the Fender telecaster ultra Mocha burst. They are both beautiful
Fun fact: just sub I for I7 which is an altered sub (via diminished family) for VI7 which means you’re even getting an altered sound to the ii-V. Then just play the VI7-V and you’re intro the blues for the second half of the A.
@@rickjensen2717 I mean there I was hacking through the second minuet of the Cello suite #1 and up the stairs I hear ‘stop it. It is not for you.’ Otoh she has no strong opinions about the lute suites.
I knew Brighton based guitarist Dave Cliff when I was Sussex Uni. He toured with Warne & Lee for part of the famous Jazz Exchange European tour. Eunmi Shim’s *Lennie Tristano: His Life in Music* (University of Michigan Press) is worth a read for technical insight and careful transcriptions of solos and heads.
@@RalphBrooker-gn9iv yes! Dave is one of the greats for sure. I have the European tour CDs stashed away somewhere.. time to re listen. Also that album with Geoff Simkins… chefs kiss as the kids say.
@@RalphBrooker-gn9iv btw some of my earliest memories are from living on the Sussex uni campus, I grew up in Brighton. Dave was a teacher on the weekender where I first found out about jazz…. I think Jim Mullen’s based down there these days? Not a bad jazz guitar pedigree really haha.
@@JazzGuitarScrapbook I studied sax with Geoff briefly. Lovely, uncompromising player. He turned down profitable gigs that just weren’t his scene. Dave and Geoff used to play as a duet in one of the campus bars. I’ve been a devotee of Lee and Warne all my life, from a tender age. Imagine my astonishment to find Dave Cliff playing on campus. I knew it was the right Dave Cliff just listening to him. Geoff has listened closely to Lee without trying to sound like him. Dave & Geoff were resident at the Concorde Jazz Club. Dave ran a quintet there. Whenever Geoff clocked me coming into the club he’d quote something from the Tristano repertoire if he was blowing. I have a couple of their albums. Very nice. I enjoyed your lesson though I’m not a guitarist.
@@JazzGuitarScrapbook I’m 63. I grew up in the Portsmouth area. My earliest musical experiences were the 1949 Tristano Sextet on Capitol. My father had 78s and a 12inch 33. Also Konitz’s 1951 recording (Hibeck and Duet for Alto and Guitar being standout, way ahead of its time, interesting that Miles is quite mealy-mouthed about that music). Also Bach and Schoenberg’s 1st String Quartet. I would have been 8 when this music was entering my awareness. There was also Lee Konitz’s 1949 Prestige recordings (Marshmallow, Fishing Around, Sound-Lee). Astonishing to hear these lines. This is still among the most beautiful, evocative music I’ve ever heard.
I've repeated this several times over the last few weeks and am finally getting the idea of "treating dims like dominants a half step down". So, 1#dim in C sounds like a mix of C7 and A7 (if you like to add the C#). Thx. I learned something.
@@GeoCoppens He’s recorded with him!!! In any event your’s is a crass, arrogant and more importantly subjective view. As for knowing Lee I don’t care one jot if you’re his brother. If the album Parallels isn’t enough for you then see Lee’s explicit views about Turner in Andy Hamilton’s book *Lee Konitz: Conversations on the Art of Improvisation* . Very disappointing (your comments, not the book; you should read it!).
At the end of WWII The first bar was always a Bb6 which could also include a b7 - so a DOMINANT (add)13 - The Charlie Christian Tonic chord... and that's in all the early rock n roll too. Jump blues. Western Swing. Rockabilly. Straight dominant 7 chords are more of a 60s thing. I will skip any blues with bebop soling that starts on a Maj 7 - I don't want to hear that.
The most systematic approach to learning bepop. Would interesting to see how you could apply these concepts to more modal vamps as well as modern playing
Congrats on 10k ! Great vids and insights which help. I thought your choice of "declamatory" to characterise jazz v blues was most inspired. It struck me that many of us started a musical journey as teenagers. Are there any more "declamatory years" (in numerous areas) than our somewhat theatrical teens? Unsurprising then that the natural way of playing we warm to sits in that mold. Thus a rock star sounds more than some distance from say, Jim Hall. Best for the next chapter and many thanks for the thoughtful approach you bring... a refreshing antidote to the wall of speed and noise.
Congrats on the 10K. Keep on the keeping of the "on." I wish more folks spoke about the importance of odd time in the context of 4/4. I'm also studying Konnakol (Solkattu?) as well as West African rhythms to get deeper into the poly rhythmic and poly metric nature of jazz time. Charlie Parker and Dizzy were EXPERTS in poly rhythm and poly meter, but their prowess gets slept on because: 1. they didn't play in "odd time" signatures (Dizzy did, but not Parker) and 2. everyone is so enamored by bebop harmony that they totally IGNORE the rhythmic aspect. I still say that we need to change the jazz pedagogy paradigm. Rhythm deserves equal, if not more attention, compared to harmony and melody. We need to stop ignoring rhythm in jazz ed and sit down with a drummer (or a bassist--those folks are masters of rhythm as well). Barry Harris had a lot more to say about rhythm that went under the rug because his harmonic and melodic conceptions were so rich. I could study Barry Harris's methodology for the rest of my life and still only scratch the surface. That said, he said a lot about rhythm that goes ignored--maybe because people weren't interested (sadly)? Remember, Dr. Harris used to say "rhythm rules the world." From one teacher to another--if we shy away from teaching the hard stuff and deem it ineffable, then we render our students inert. So keep fighting the good fight, wherever you teach.
Really good, thank you. I appreciate the effort that went into finding the harmonically correlated phrases from various recordings. Gives a sense of how Bird heard his way through the harmony.
Really good, thank you. I appreciate the effort that went into finding the harmonically correlated phrases from various recordings. Gives a sense of how Bird heard his way through the harmony.
I thought this was common knowledge. The whole difference between blues blues and bop blues is that boppers treat the one chord more like it’s in a traditional key. That’s the way I teach it, and more or less the way I was taught (though my teachers weren’t always as clear and explicit as I would have liked). Cheers for a great video 😊
@@jeremydoody maybe it is! I didn’t see it explained this way myself coming up, but I think it’s quite clear if you pay attention to the music. Barry taught it this way, needless to say.
@@jeremydoody also what’s true for bop/bird isn’t necessarily true for all jazz, obviously. I was originally going to do a history of the jazz blues but that would be a pretty long vid. I still have the word doc. Maybe I’ll put it out on ko-fi.
@@JazzGuitarScrapbook that would be cool. I think the ways that jazzers have treated the blues over the decades would be an incredibly interesting topic. Showing the common thread of true blues, and how the boppers mixed it functional harmony, the modal guys mixed it with modal concepts, the avant- garde guys exploited the crunchy sounds on offer, the fusion guys mixed in the rock sounds, etc… could be very instructive.
I always think about the #IVdim7 as a IV7b9 with the b9 on the bottom, just a different inversion of the chord before. And you could fit that theoretically into your analysis given that the F blues scale contains the b9 of Bb7.
Musicians! Pay attention! This tune is simple beautiful and not difficult to add to your set list and with this lesson you can make the turn around sound good! Enjoy! 😎🎸
