Sundog

A few of my latest obsessions... Sonny Stitt- Harlem Nocturne (Version on the Mosaic Box) Howard Alden & Jack Lesberg- Dancers In Love (Over looked Ellington song IMHO. This version really shows off the maestro's composition) Oliver Nelson & Company- Stolen Moments (I'm always hooked after the first two bars!) Robert Cray- Tollin' Bells (Haunting Willie Dixon tune done up proper by "Young Bob") Kenny Burrell- His solo on "The Sermon" The Ventures- Walk Don't Run, 1964 version (Who said that polkas and surf music don't mix?)

SoulStream brings up an interesting point/dilemma regarding the challenge of constantly creating fresh new improvisational ideas. It's pretty darn hard to constantly come up with totally original ideas. Let's face it, even the most consistently profound players have their cliches that they tend to fall back on. For me it comes down to what I practice. For instance, If I make a concerted effort to practice diminished licks. Those licks, and other original licks will eventually find their way into my playing. It may take many months before it becomes totally natural. But it eventually happens. You "are" what you practice! Okay, at least I am... The best advice I ever got regarding improvisation is to "...play what you mean, and mean what you play" I've always tried to keep this in mind. Let's face if, the audience will always know if you do otherwise. Best compliment I ever got regarding my playing was "...you played that like you meant it". A compliment like that is enough to make you wake up an hour earlier than normal, day in day out, to put in some serious metronome time, or whatever it is you need to practice! A little positive reinforcement goes a long way, and lot's of practice will provide you with increasing amounts of encouragement. It's a vicious circle. Those needing instant gratification need not apply!

I know it's not on the list, however I've always liked the cover to Dexter Gordon's "A Swingin' Affair". Often times jazz album covers seem to be so serious/pretentious. It's nice to see a simple picture of someone just kickin' back with a big smile on their face. Talk about loving one's work. Their are a number of Blue Note era Dexter covers that have a similiar theme.

My latest obsession is a Simaudio Moon Nova CD Player. Also thinking about a D'Angelico NYL-2 archtop. Short term, I'll settle for an original copy of "The Sermon" on vinyl. One has to know one's limits!

Yeah, they still do it for me too. Still get goose bumps everytime I hear the guitar solo to "Jesus Just Left Chicago". Wicked, just wicked! Incidentally, I believe ZZ Top is touring with Ted Nugent and Kenny Wayne Sheppard this summer. You never know who might show up at a ZZ Top show. Jeff Beck has been known to come out of his garage long enough to play a show or two with ZZ Top. One can only hope.

Funny, I've been getting back into my rock collection lately after many years of neglect. There are a few albums/bands that have never gone out of style for me. Here are a few... Allman Brothers: Live At The Fillmore, Brothers and Sisters Peter Green Era Fleetwood Mac Kinks: Pretty Much Everything Clash: London Calling Stones: Exile On Main Street Traffic: John Barleycorn Must Die/ Low Spark... Joe Walsh: But Seriously Folks (Extremely underrated album even though "Life's Been Good" was a fairly big hit. Rest of the album is outstanding. Great Cover Too!) Elton John: Tumbleweed Connection, Honky Chateau

I buy select issues off the newsstand at 10$ a pop. It's okay. Some nice transcriptions, lead sheets, and interviews with musicians. Spectacular no, however, it does provide a fair amount of interesting information for musicians. I probably won't subscribe, but I will continue to buy select issues that are of special interest to me.

For those in doubt about who the greatest guitarist is, let me just say "Air Mail Special" For me that solo is the epitome of his style. On the surface it seems so freakin' simple! Easy to be fooled by his ultra-relaxed phrasing. There's some serious sh*t happening in those 32 bars. Every other bar or so contains a phrase that is pure genius. He still sounds fresh 60+ years later. Talk about being ahead of the curve. He's so far ahead of it, he's behind it! Know what I mean?

Had to go with Kenny! A sentimental favorite. Other guys that I really dig that haven't been mentioned yet... Barney Kessel, Barry Galbraith, Philip Catherine, Cornell Dupree (Not really jazz, but just happens to be the best R&B quitarist on the planet IMHO)

I'm in the same boat as Templejazz is with "Softly As A Morning Sunrise". Only difference is the song, for me, it's "No Moon At All". I've been listening to Howard Alden and Jack Lesberg's version off their album "No Amps Allowed". Very tasty swingin' version. I'm looking for interesting interpretations that I can absorb, and incorporate into my playing. As always, thank's in advance!

I'll have to second Alexander's recommendation. McCoy's rendition is a real eye-opener for me. Quintessential Tyner.

I get a kick out of the series. It's like if the Three Stooges were gearheads. Funny stuff!

Red, The Eternal Triangle bridge is a unique non-traditional way to play through the bridge in rhythm. In the key of Bb here's the progression... | B-7 | E7 | Bb-7 | Eb7 | |A-7 D7| Ab-7 Db7| G-7 C7| F#-7 B7| It's begins on B-7 and cycles to it's related dominant chord (E7) then does the same thing a half step lower in bars 3-4 (Bb to Eb). Bars 5-8 are just a a series of descending ii-V progressions. Pretty slick little bridge. I believe this song was written by Diz and Sonny Stitt. Kudos to them for thinking outside the box. I don't know of another case in which this bridge was actually utilized in an original tune. However, I do know that players will call for it, just to mess with newbie jazzbos in jam sessions. Yes, I have been victimized.

The more rhythm you hear the better you will be able to recognize the form. Here are some examples of rhythm tunes... Jumpin' At The Woodside Anthropology Flying Home The Theme The Serpent's Tooth Dexterity Kim Ah-Leu-Cha One Bass Hit Salt Peanuts Seven Come Eleven Eternal Triangle (This one has a very interesting bridge) Cottontail There's original rhythm which is more or less based on "I Got Rhythm" changes. There's what's sometimes referred to as "Jazz Rhythm" which typically uses diminished chords in the first 2 bars of the A-section. Then there's rhythm with alterations which is a catch-all category for everthing else. A typical rhythm bridge starts on the major third of the primary key and cycles up a perfect forth every two bars. Another common approach to the bridge is a chromatically descending theme, starting on the major 3 of the primary key and descending a half-step every two bars. Then there's the eternal triangle bridge which breaks all the "rules". There's also the "Sears and Roebuck" bridge which is a bridge based on I-IV-V blues changes with a secondary dominant thrown in. Hopefully this isn't too technical. But a little information on form may help you recognize the sound of rhythm.

Hey Joe, I've been thinking of picking up Barry's Bach book. Glad to hear a positive comment about it. Unfortunately I live in the northern "burbs" of Chicago. Oh well!

Any other guitarists out there dig Barry Galbraith? I've been studying his bassline comping techniques. That guy was a monster! Great player and arranger.

Sounds like "rhythm" to me! Rhythm can be played so many different ways it's sometimes hard to tell. The bridge seems to adhere to the general form. This song really cooks! Thanks for reminding me about this fine tune. As an aside, next time your watching the Cartoon Network check out the Flintstones theme song, a pretty hip little rhythm tune.