Sonny Stitt actually did write it, he was playing it years before the Sonny Side Up session under the name "The String." He added a different bridge with the half-step descending thing and it became the "Eternal Triangle."
@@vova47 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-KrKHFOc3vvI.html&ab_channel=WillieEllebie i mean it's literally how jazz works... pretty sure there’s also a live where he plays the melody even clearer but i don’t remember which one
@vova47 Whatever Mr. Know-it-all. Let's hear your video that sounds better than this one. Sounds to me like Roy and Jackie are bringing a whole bunch of music to the bandstand, what do I know though?
it's not about ego here. These guys all have great chemestry especially considering the fact that this the trio from the parkers mood album (roy, christian, stephen) and they are just jammin' on monster levels.
the hardest thing to do on a song like this is to NOT take it out play ambiguous nonsense....listen to the original recording and then compare it to the piano solo here and then you will hear the outside noodling line of nonsense...
Very cool. I like how the pianist threw in that heavy McCoy Tyner stuff to give nice contrast to the original with Stitt, Rollins and Diz. Hargrove sounds gorgeous. I think the guitar, trumpet, alto lineup also gives nice contrast to the original.
@Kitschead not really. jazz is increasingly treated as a form of "high art" like classical music and, in some ways, it is being increasingly institutionalized (being taught at unioversities, etc.) there are drawbacks but i think its cool that the music is treated with such respect
LoL Dude, listen to Herbie's introductory explanation. They're jamming on the head of Sonny Stitt's Eternal Triangle. It's a 32-bar Rhythm Changes. "Jam" doesn't mean make shit up from top to bottom.....study some jazz, man.
I don't think ego is the problem here. The whole program is contrived. They obviously had too many rules to make music happen in a natural way, because it was not a natural jazz setting... Considering, it still sounded great, and who is going to sound like stitt, sonny and dizzy ever again, thats aside from the point, no one should sound like them ever again. We should find our own voices...
nice, but who wouldn't prefer the original more? hargrove's playing is the best here. mclean's great. metheny??? not so much. scott??? trying out chord substitutions over the changes sounds like a jazz theory assignment. cool though. but, the original? messers gillespie, stitt, and miles favorite tenor of all time, rollins, blew the roof off of that studio. i saw sonny at the bottom line in nyc in the 80's, level an audience when he played "oleo" at a breakneck tempo... people were standing on their chairs like a springsteen concert.
"What do I know?" is a good question to ask oneself once in a while without sarcasm and find out frequently "Not enough"...I recommend listening closely to the original "Sonny Side Up" version, learn Sonny Stitt, Sonny Rollins and Dizzy's solos then go back and listen to this version. (I did...) See if you feel differently about " whole bunch of music" on that bandstand......
Oh yes, of course, they are "THE SUPER STARS", but that does not mean that they make great music every time they are thrown together on the bandstand, as they did not this time. (IMHO). As for smoking ME with one note... it´s possible, depending on the choice of note. However if they won´t stick to that magic tone they can experience second-hand smoke. Peace,V.
The solos actually have little to do with the tune or the changes. There´s a lot of ego and not enough music on the stand. If original version of this tune was as bad as this one, it would never have become the classic that it is.
What's with all this stupid hate for Metheny. I'm not his fan or anything, but he is a great player. Save the poison for someone who really deserves it u snake
There's a reason why they chose Metheny to play with the likes of Hargrove, McLean and McBride.. because he's one of the only guitarists alive that can keep up with players of that caliber. He's played along side Joe Henderson, Roy Haynes, Michael Brecker and Herbie Hancock, some of the greatest names in jazz history. You may not like his tone, you may not like his style, but there's no question about it, he's a 'real jazz' musician who can improvise with skill, creativity and speed over any tune you throw at him. He was shedding over All the Things You Are and Solar when he was 13 years old and teaching at Berklee College of music when he was 18 while playing alongside Gary Burton at the same time. What were you doing at 18? I'm not a fan of his personal music and I'm not crazy about how every jazz guitar player after him for the next 10 years ran out and bought a chorus pedal, turned their tone nob all the way down and tried to sound like him, but I definitely respect his ability and innovation. The man's played his ass off and worked his ass off and deserves respect. He's as much a 'real jazz' musician as any of the other players on that stage.
