Thanks so much. The explanations are really clear, and the performances are just great. But for me, perhaps the biggest inspiration comes from watching someone show off their rock-solid technique. SERIOUSLY good chops! I appreciate the advice on practice techniques (yes, I already know to go very slow at first, but it never hurts to be reminded). I'm off to practice, and patiently wait on #76.
Thanks David, I appreciate that. I think the key to "technique" when improvising it to work to establish a very direct and instantaneous expression of the music you hear in your mind. Because if you can clearly hear it and want to express it, the fingers will follow. Also, lots of Bach!
I remember when I first learned the basic melody and chords to this and playing the Coltrane recording over and over how amazing it was that Coltrane had got so advanced that he could effortlessly solo over the changes at what, 340 bpm? I started transcribing his solo and I literally couldn't play it faster than super slow at first, I couldn't even do 50%! It's still a tune I badly need to work on hard at getting faster and soloing over, so it's refreshing to hear what you say on practicing it. Speaking of Miles's earlier stuff, I love Bluing and that Blue Period album.
I'd love to hear you play, James! Yeah, practice it slowly and the speed will come by itself. It's more related to the ear than the fingers, ironically. I agree about that special early period of Miles. There's a charm there that wasn't so apparent even just a few years later. Surprisingly, I hear it again on some videos of Time After Time where he's playing without the harmon mute. When his voice got raspy, his trumpet tone changed too. I guess the fact that his voice and trumpet tone were so connected is part of what made him so great, but I which he made more records like he did during the early 1950s. Will You Still Be Mine? is a favorite of mine.
Nah, I'm very modest about my jazz piano playing abilities, I've got a long way to go Ron! I did all the classical piano grades as a kid and both my mother and sister have taught piano but I only got into jazz when I became more accomplished at guitar. As my love of jazz has blossomed I've rediscovered piano and there's something about jazz piano I'm very passionate about now but at times it seems like an overwhelming amount of work needed to pull everything together! I wish I'd been taught jazz piano form the age of 6 when I started classical lessons and learned both!
James Anderson Fair enough. The main thing is to enjoy the process, even when you yourself don't think you're playing well. Thats' what all the greats have in common. Otherwise they'd quit.
Definitely! I love it! :-) It's starting to come together nicely, but I see a great deal of potential which I'm yet to cap that's all! It's an exciting time at the moment in my development and I'm feeling increasingly free in terms of creativity and a lot of my stored theory knowledge is showing up in my playing. Copying voicings and ideas from your videos is speeding up that process, it's that thing where you think, ah if I can do that in that key then I can do it there on another tune,or that descending altered lick there, I can do it over etc.. you know! It's a wonderful thing!
Excellent, excellent finger chord and technique work. A lot of us jazz fanatics remember when we attempt countdown. It can break a person :) giant steps isn't too bad, a love supreme is soulful more than technical. Countdown is... Countdown.
By the way, and maybe interesting for the upcoming "Impressions" video (if you didn't already know): The melody from Impressions is adapted from a part in Morton Goulds "Pavanne" and extended to a 32-bar form. Great videos, thanks!
