Jim & Joe Show (Jim Campilongo and Joe Gore) "Anelho" by Jim Campilongo 

That’s the plan! :)

Thanks! I’m glad you’re enjoying it. I sure am! ❤️

I was really nervous about including the chats - it just feels a little too self-important. But happily, some folks seem to be enjoying them.

It is an extreme privilege to play with Jim.

Man, I don't feel like a "master" of anything (though I can cook a pretty wicked Italian perpperonata). But I'm delighted to hear that you're enjoying these. Jim and I are certainly having a great time making them!

@@joe_gore Best guitar teaching I get by far.

Thanks so much, Andrea!

That’s precisely our intention! These videos are sort a “work in progress” series for an eventual 2024 album. I’m thrilled you’re enjoying them!

That’s exactly our plan! These videos are steps on our path to a 2024 duo album.

Love Jim’s composition!

Muito obrigado!

« Notes de tension » - j'adore cette expression, Michael ! That's a better way of expressing my attitudes about tonality and chromaticism than I've ever managed. Dorky to confess, but I spend a long time last night thinking about how to hear that "half-step above harmonic minor" procedure without needing to think in the "wrong" key. Say you're on E7, and considering the notes of the harmonic minor scale in F minor: starting on the root (E) the first five notes are half-diminished/octatonic/whole-step half-step/Mesiaen's second mode of limited transpositions (four terms that mean pretty much the same thing.) It's rare that I DON'T hear in those terms. But then it gets weird - there's no perfect fifth, and you go straight from lowered 5 to lowered 6th. The weird note is the latter, which doesn't appear in the half-diminished scale, and therefore feels weird to me, even though it sounds great. The other odd thing is that there are five notes in the lower half of the scale (E-Bb) but only three pitches in the upper half (C-E). So I'm going to put in some practice time integrating that lowered 6 (which I seldom play over secondary dominant chords) and skipping the 5 (which I almost always play).Then I can hear those pitches (to use your excellent phrase) as notes of tension relative to E7, instead of thinking in a key we're not actually in, which always feels unmusical to me.

@@joe_gore As the lovely bassist Chris Kee once said, "It is all about the squeezing and the letting go." I barely understand the language you are speaking above. I have just come to the conclusion that there are no wrong notes and you can play anything you can make work. I learned a great trick from Jim Oblon who would play the classic fifth, flat seventh, third (G,B,E strings) lick blues lick numerous times a half step down from "the key," milking the tension until it made its point and then resolved it with orgasmic release. Key, schmee. ;-)

Aww, thanks Curt - and thanks for watching!

What a lovely thing to say. Jim compositions always seem to have such a powerful emotional pull.

@@joe_gore Indeed! Your channel makes me happy. Keep up the great work, Joe (and Jim)!

If that’s true,, I guess I’ve.never played.

@@joe_gore I should clarify, your guitar playing seems effortless like only emotion comes out of your instrument. 🎸♥️⚡😎

Thanks for that! I can’t speak for Jim, but I love both those ideas. (We might even have discussed “Third Man” at some point - not sure.) I’m a HUGE Cole Porter fan (though my very favorite American Songbook composers are Rogers and Hart). And “Beguine” is such an amazing composition, especially for its time. The way it departs from the era’s near-universal 32-bar AABA structure … the oscillating major and minor … the high, soaring melodies in the final section … pure genius!

Selection from Rogers & Hart also a very good choice. What about Holst's Jupiter?@@joe_gore

I’m not sure what a C# altered is, or how it relates to Dm6. In traditional theory, you are unlikely to have a C# tonic - you’d likelier spell it in Db (five flats) as opposed to C# (seven sharps). You generally go with the spelling that has the fewest sharps/flats. Also, while MANY great guitarists disagree with me, I always find it weird to locate notes by thinking in the “wrong” key. If we’re in Dm, for example, I prefer to think of chromatic tones relative to the note D, as opposed to conceiving of them in another key.

I love that idea - but it's probably not going to happen (for now at least). These duets are a big priority for Jim and I, but we both balance these against our other musical commitments, and it's sometimes a challenge to get even this much done. For example, we've manages to post new videos every two weeks for the last 14 weeks, but it'll probably ly be three weeks before the next one because of Jim's upcoming shows in Buenos Aires. Anyway, I'm really happy to hear that you're digging these.

@@joe_gore yep, totally understood...what you & Jim do is already freaking excellent.

Oh crap! Yes, that’s totally what I meant. Argh!