How We Play Out 

if you have amazing phrasing, you can basically play the phone book and it'll still sound amazing. I think Oscar Peterson said something along those lines.

Lately?!!??..

YES, exactly what I'm talking about!

Are we watching the same video? Because “intentionality” is all I’m seeing here in every aspect you mentioned and I’m only 30 minutes into it. I thought that was the point of recording this episode. They’ve just presented what kinds of modes to play that will make 7 chords sound more out, they talked about the altered scale before they even mentioned minor pentatonics and then major pentatonics; they pounded out rhythms over base lines to demonstrate rhythms (a subtle shade to “the notes don’t matter” and then demonstrated phrasing within those rhythms, demonstrated all that rhythmic stuff with using “4 chromatic notes only” and then “two notes only”, playing scales in a key a half step down from the actual key of the tune or a half step up from the key or the chord and I’m marveling at how much information I’ve retained knowing that I’m struggling with mild cognitive impairment (for real). So if I’m truly missing what you’re saying, let me know. I have not yet watched the last 30 minutes.

@@geocosmicvalentine It's a great video. My point is that the study of rhythm can always be more explicit. As a teacher myself, I can confidently say that Adam is great at asking questions and breaking down what professional musicians take for granted. Adam is talented at making Peter's "mysterious artistic process" explicit for us laypeople. These realizations are usually about harmony and melody. There's a lot that still goes unsaid about rhythm. I rooted for Adam when he made that video "the notes don't matter," but I think there's still more to learn. Unfortunately, many of us are still stuck in a harmony-centric pedagogy of music. There's a paradigm shift that is currently happening in jazz ed--we are finally recognizing the power and priority of rhythm. We've talked harmony to death. We've talked chord scales to death. Rhythm is still untapped and can provide a pathway into musicality through the dance of the drum, especially for us non-drummers. I think that Adam can help change our pedagogical direction. I'll add Patrick Bartley, Quincy Davis, Bob DeBoo, and a handful of other educators on RU-vid. Barry Harris tried to teach us a lot about rhythm--"rhythm rules the world"--but we are so enamored by his harmonic conceptions that rhythm goes by the wayside. Afterall, what is jazz without rhythm? What is music without the dance? What is the oldest pillar of our musical history?

@@pickinstone I’m thinking of something I’ve heard Adam allude to here and in many videos here on RU-vid (I wish I could reference which ones but there are so many now) in which he says, “The notes don’t matter.” (And he also expresses that it gets him into trouble here on youtube sometimes in the way that I think you’re describing), but he’s using Thelonious Monk as an example with Thelonious’ emphasis on rhythm and phrasing being so great that his clunkiness of touch and playing (what often sounds like) the wrong notes, but we dig it anyway. That’s his style of “outness” and I see Adam displaying that here in the video with the rhythmic exercises he’s showcasing within the 1st 30 minutes of the video. He doesn’t say the words but I see him doing it here. Unfortunately, I am about to [headdesk!] 🤣🥱😑😔😴😴💤💤💭🎹🎹🎹 But I’m glad to see I’m not the only person awake in the middle of the night practicing and/or studying how to play “out”. P.S.: There’s a basic rhythm book for drummers that Lyle Mays recommended (it’s somewhere in an article on his website - maybe be a deep dive into the media there) where he mentions that you have to just move through that book, like climbing a mountain alone in the snow, but once you do it, you’ll never worry again about what you’re playing rhythmically. Now I’m just babbling, I better go to sleep. Have a great evening.

They have sixth sense at Open Studio.

They're in your walls

I know that feeling

The Piano Matrix has You

@faboolean7039 At least you were practicing this, I was just wearing the T-Shirt. Literally 😂 except, I was wearing the maroon long sleeve “You’ll Hear It” t-shirt.

You also didn't know you can edit comments? I'm just messing with you btw. You will get it you have to sound bad for a while before it comes together. Just listen to a lot of different jazz musicians, and get these sounds in your head.

Simplify everything and shift the pentatonic scales

🚨🚨 jazz police alert 🚨🚨

ok Bob, thanks for your input.

Yes it is playing out, as is McCoy when he goes there. Did you watch and listen to them at 7:40 thru 8:30 explain it...ie outside of the chord/scale/melodic/harmonic relationship. You are talking about free jazz, which can and is often out, but is usually beyond out to the point there is little to no "in" context to give meaning to what is out or in like most free jazz. If there is no in, there is no out. If everything is out (most free jazz) nothing is out. To be out there has to be the contrast of in to out. Without in there is no context to determine out.