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About JSngry

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  • Website URL https://soundcloud.com/summusic-3
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  • Gender Male
  • Location tx, usa
  • Interests Getting to the good parts.

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  1. "Life" is an illusion, so as long as your check don't bounce, you can play with whatever chords you want.
  2. HELP@ Whatever Happened To Jacy Parker????

    JESUS JACY, DON'T SWING SO HARD!!!!!!!!!!!!!!!!!!!!!!!!!!
  3. Glad you recognize that the diminished chord died a natural death from it's own self-predicted irrelevance. But you can still pay for my kids, no problem there. You money is always good here!
  4. Hey, if I killed the diminished chord, you can pay for my children, I - and a grateful universe - will take all your money with neither compunction nor hesitation.
  5. I don't at all like the label, but this is a good series for what it does. Tehre are some gems in there, although I doubt that any of them are other than booted copies from Japanese and other legit sources. Still, this series did have the GREAT Jacy Parker record, and anybody that does that... Tommy's a great guy to deal with, so yes, I will recommend these - to buy from him and only him! Confirming the recs for the Honi Gordon, but for THAT one get the OJC if you can find it. But yeah, Honi Gordon! That Barbara Long thing was on Savoy and is very nice, even if she does seem to have been in another room than the band, or in the same room at a different time. She could hang. The Peggy King record is good. Gloria Smyth, yeah! An All-Star lineup! A BIG rec for the Pat Thomas! Strand made good records, and this one was no exception. Same for the Shelley Moore. VERY good singer. Ramsey Lewis, Isaac Holt, Eldee Young, Eddie Harris, Plas Johnson and John Collins and she can hang. Do not sleep on this record!!!! I like the Easy Williams too.. That Larry Hovis is the same Larry Hovis from Hogan's Heroes. I don't know this record, but heard him on that Bill Gannon Trio on Carlton and found him to be a really good singer. Who knew? Beverley Kelley, this record is with the Pat Moran trio and has Scott LaFaro walking the shit of some walking, and Ms. Kelly seems to be the type of singer that is happy to have that underneath her. JAcy Parker was another one, only Jacy Parker played her own piano. But those are singers to pay attention to, because they ain't afraid to get down in it, which after all, is where it's at. Like I said, great series. Sketchy sources, but a great series. And by all means check out Jacy Parker. She got PUNCH! I hope that whatever happened to her (and it still seems to be a mystery) that it was at least as good for her as it was for me, hopefully better. Don Cinderella walking!
  6. Personally, diminished chords are the most uninteresting of chords, imo. Very 19th century. BLECH!
  7. Your 10 (or 5, or 3) favorite ECM albums

    Hyperion With Higgins is a really good record.
  8. Shirley Scott – One For Me reissue

    Like a scaled-down gatefold LP with a cardboard inner sleeve. The liner notes take up both sides of the inside + both sides of that inner sleeve.
  9. BFT 197 Discussion

    Solitude has a verse? Who knew? Dinah also has a verse? I did not know that! That's Melissa Aldana playing "Solitude", not sure that's what I want to hear, but outstanding command of the instrument across all registers! Definitely Ben doing "Single Petal..." originally released on an impulse! sampler, a "leftover" (HA!) form the See You at The Fair album.
  10. I remember the architecture math better than I do keys alone, so it works for me, just how my mind works. Bridge = 1/2 step up/IV/back to to the 1/2 step up m7/down a major third to a dominant. Some people can play Giant Steps in any key because they get the architecture. I can't play it in ANY key, but I can do that on the Ipanema bridge! I feel blessed? One thing that helped in the fun was that functionality of F#m7 and D7 is one thing, but an altogether other thing is that in terms of basic chord structure is that its the same notes in both chords with the critical/fun difference that the C# in the F# minor chord can be moved, must be moved, either a half-step up or down when you get to D7, that's where the pivot is in terms of a melodic improvisation, that change. Not the chord/scale, just that one note. You can even keep the G# in there, it's a nifty (if cliched) #11 over the D7, no problem if that's what you want. But the key is to move that C# out of there completely, that thing is gone now. It's one of those things, imo, where if you think in terms of melody first, the theory kinda fixes itself. Or maybe it's the other way around. Either way, it's math, architecture.