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bluesForBartok

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  5. The teachings of Mobley solos on Rhythm Changes

    in Musician's Forum

    Posted

    18 hours ago, JSngry said:

    Meant to say "thank you!" for hearing this in terms of changes instead of scales...you can do it either way, but imo, thinking of changes gives you a better feel for the overall shape and movement of the statement, its architecture. Thinking in terms of scales on stuff like this is just too..bionic or some shit, not quite fully human, misses the point.

     

    Absolutely. I've spent years post Berklee and just plain living in that world of what scale / mode is the player thinking...

    I've gone back to thinking (speaking) like a child and working on trying to hit chord tones and tell a story. Another revelatory moment was working through this Konitz Tenor solo on Indiana - https://photos.app.goo.gl/xMaMMz9avuAAhEnb8 - and marveling at how he plays w/ the rhythmic nuances of the lines across the bar and STILL hits the chord tones where it counts. 

    THAT'S WHERE IT'S AT FOR ME

  6. The teachings of Mobley solos on Rhythm Changes

    in Musician's Forum

    Posted

    20 hours ago, JSngry said:

    There's a reason why Hank still appeals!

    When you feel like it and if you want to do it, check out the other Sonny's Rhythm changes solos, beginning with "Newk's Fadeaway"...him and Hank were both personalizing the Bird Language, and there was a lot of overlap in harmony, but a lot of difference in rhythm and inflection. So much to learn, and, seriously, that OTHER Sonny (Stitt) is fine if all you want to do is learn the licks. Not sure who I would advise to REALLY study him except somebody who just wanted to learn a lot of licks in a hurry too be able toi stake a claim on some gigs.

    Not a knock on Stitt, of course, just the use to which he has been put. I love the guy, but not like that!

    Yeah I LOVE Stitt as well. And "Newk's Fadeaway" - Yeah I was working one that one about a year ago. ...gonna pick that one up again!

  10. The teachings of Mobley solos on Rhythm Changes

    in Musician's Forum

    Posted

    Just now, Teasing the Korean said:

    Not the response you are looking for, but I must say I LOVE the sound of the guitar and the tenor sax playing those lines together!  

    As a response to the "Music Minus One" series, maybe you can launch a "Music Plus One" series. ;)

    Haha! In all seriousness, these solos are really best-in-class examples of how to play this music. I thinking of starting a YT channel to break down and teach but have a feeling 0 people will give a shit. 

  11. The teachings of Mobley solos on Rhythm Changes

    in Musician's Forum

    Posted

    Years ago when I was a student at Berklee, everyone said, if you wanna learn Bop, dig into Sonny Stitt. I did a bit of that and there's no question, Stitt is one of the great codifiers of the bop language. But! I've been spending some time digging into Mobley's solos on the Rhythm Changes form of which there are many. He clearly LOVED these changes going so far as to use the A section for "Old World, New Imports" and "Three Way Split" w/ different bridge changes for each. 

    Here are the solos I've been working on:

    The Theme (April 59 w/ Blakey) - https://photos.app.goo.gl/KJ1WDTwv9oAUu7N98

    Tenor Conclave (Sept. 56) - https://photos.app.goo.gl/tV1x64oLrUAx64oS8 *I also have the 2nd player's solo (Zoot?) and I'm aiming to grab the Cohn & Coltrane <-YIKES in the near future. 

    Please note these are practice videos so you'll see lots of mistakes and me still working out the kinks so while I'd love any advice / critique on where I can improve - i.e. lay behind the beat more, lighten up on the picking more etc. - Just please don't be cruel :-)

    W/ regard to the information I'm learning from Hank's lines. Holy fucking wow! This is a man who keeps it simple and the beauty of the line takes precedence over what hip notes or subs he could slip in. However, there are also some very hip ideas that he slips in (Flat Major subbing for V Chord coming out of the bridge leading into the last 8). 

    In summary - I feel like I am really learning the bop language far more fluidly by studying Hank's playing. IMO, he should be positioned at the forefront of essential players that should be studied (following Lester, Wardell & Bird) for students going through the journey to learn the foundations of the bop language. I don't think his name ever came up in any classes I took as a source. Unfortunately, they jump from bop to Coltrane which becomes its own universe. However, if you don't learn this foundational stuff first and leapfrog straight to the advanced harmonic stuff Coltrane was architecting it feels a bit abstract to grasp. 

    Looking forward to thoughts. 

     

  12. Big score on classic Mosaic sets!

    in Mosaic and other box sets...

    Posted · Edited by bluesForBartok
    added photo

    A friend tipped me off to a guy who was unloading Mosaic Vinyl boxes:

    • Complete Commodore Vol 1  (23 records)  $100
    • Buddy De Franco /Sonny Clark   Complete Verve $20
    • Edmond Hall//Syd DeParis /Vic Dickerson  BlueNote $25
    • Pete Johnson / Earl Hines / Teddy Bunn  BlueNote session $10
    • Benny Morton / Jimmy Hamilton  BlueNote Swingtets  $10
      • $165  Total for all

    mosaics.jpg

    Larger Pic Here

    Not only was the deal too good to resist, these things have never been played! 

    First stop - LP5 of Commodore V1. Those KC6 records...man oh man! Lester Young just jumps out of the speakers he sounds like he arrived from the future. When he solos, they sounds like an early swing/bop group. 

    Would love thoughts on these sets from y'all, your favorite tracks / sessions from each etc. 

  13. The end of The Jazz Standard in New York.

    in Live Shows & Festivals

    Posted · Edited by bluesForBartok
    removed bogus inline image errors

    Such a great club. Really sad to see it go.

    I worked for Don Sickler years ago and helped him assemble a couple of shows at the Standard. Here are the pamphlets / cards we put together for those gigs:

    Here's the collection: https://photos.app.goo.gl/Zd9i2dAjeM9ts5j77 and the individual images below. 

    Billy Higgins True Blue All-Stars -

    A:  https://photos.app.goo.gl/UcfYFFbyA7GVSu7Y9

    B:  https://photos.app.goo.gl/Lin5u8ny2zwLBLJ28

    Kenny Dorham 75th Birthday Festival - 

    A: https://photos.app.goo.gl/iLwNbZs9aTAs5hhL8

    B: https://photos.app.goo.gl/j6REmrkPF1usk9KE7

    C: https://photos.app.goo.gl/cpmYPuc2K2mi383d8

  17. Tristano's changes on "Back Home" | Toronto 1952 performance

    in Musician's Forum

    Posted

    I"m [slowly] learning Tristano's solo on a version of 'Back Home' from the 1952 (Live/Toronto) recording and there's this beautiful set of substitutions starting in bar 23 where normally, you resolve to the F minor but Lennie's playing 4 chords each for 2 beats across Fm to C7flat 9 and, to my ears, it sounds like M7 chords descending in 5ths starting on F#M7 so it's - F#M7 / | BM7 / | EM7 / | AM7 / and then, instead of jumping back to Fm he resolves to A flat M7. I get the AM7 being the flat II M7 into A flat so, if I'm correct, the preceding three chords are just a cycle approaching the flat IIM7am I even remotely close or are my ears playing tricks on me?

    "Back Home" - Toronto 1952

    I know this is getting into super nerd-ville but this is the world of insanity I live in :-)

    Thanks for looking! 

  18. LF: Charlie Parker Complete Royal Roost Broadcasts

    in Offering and Looking For...

    Posted

    50 minutes ago, ghost of miles said:

    This one?

    It’s a great set, with excellent notes by Loren Schoenberg. Dan Marx at Savoy told me they opted to clip out a lot of Sid’s banter, the commercials, and the bop vocalese tracks, and to include the 1947 Carnegie Hall recordings with Diz and the Chicago 1950 date instead. Which, musically speaking, was a good choice. But I also ended up hunting down the rest of the prior 1980s Savoy “Bird At The Roost” CDs, in part because I was making a long nightly work commute at the time and enjoyed hearing the flow of the entire broadcasts. Sometimes it’s cool to hear the music in its original context—Symphony Sid noting celebrities in the audience, etc. I don’t know, though, if there’s a collection of the 1948-49 Parker Roost broadcasts that includes even more material than was issued on the four late-1980s Savoy volumes.

    So I have the official Savoy one you are linking to. The ones I'm seeing out there are:

    Complete Royal Roost Broadcasts

    and

    he Complete Royal Roost Live Recordings on Savoy Years Vol. 1-4

    By the looks of these, they include the full broadcasts which is what I'm looking for. Anyone have these and/or can you confirm these are the complete broadcasts including the stuff the Savoy release cut out?

    Thanks

  20. New Charles Tolliver

    in New Releases

    Posted

    On 8/2/2020 at 1:00 PM, mjazzg said:

    After three listens I'm still to be convinced by this, obviously a minority view around here.  I agree that 'Emperor March' is the strongest track but find the others a bit undercooked and I wanted more Tolliver, wish it was a piano less quartet.  I'm hoping it will reveal its delights in due course.

    I'll just go and hide in the corner now...

    Listened today and also agree. I found it a boring listen.

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