Clark Terry down edition
what are your favorite albums by this man ?
otherwise, what are you listening to ?
is it good ?
who are you going to see playing live in the next months ?
discuss jazz related stuff in here
Is Charles Mingus entry-level?
who the hell cares, just listen to him if you like him
interesting record, with two cellos, two violins, guitar, bass, drums and clavinet
My second favorite Coltrane album is My Favorite Things. If you liked the ambition of A Love Supreme, check out some of his experimental stuff like Sun Ship. Pretty much any album with that quartet is at least 8/10 IMO.
Start exploring the biggest players from the bebop era and further.
Try Miles Davis, Charles Mingus, Charlie Parker, Dizzy Gillespie, Art Blakey, Horace Silver, Clifford Brown, Lee Morgan, Bill Evans, Thelonius Monk, Bud Powell, and pretty much any player you hear on their recordings and like.
Just got my hands on the new Criss Cross releases finally. Hopefully I'll get a chance to listen to one or two of them tonight. I might keep a list this year of all the new jazz releases I hear with ratings or something. Wish I would have done that last year.
I'm working on learning Up Jumped Spring so I've been listening to Freddie Hubbard's Backlash.
Also bumping a lot of Bobby Timmons,
Ahmad Jamal's Live at Pershing recordings, Christian Scott
And of course CT since his passing
Hey /jazz/, what are some (I think are) big band albums with great drumming that give this sort of grandiose, feel-good, enjoy life feeling? Vid related
I was listening to Art Blakey's Big Band the other day and it does sound like this sometimes, too
This, or "Such Sweet Thunder"
How can I improve? I've been playing for a while but I'm still obviously mediocre. I only started vibrato today, so that's that. Lots of this is improvisation. If it sounds quiet, it's because my microphone was turned down.
Check out Jazz Messenger alum Steve Davis. I played a festival with him a few years back, super cool dude. He likes sports.
Conrad Herwig is one of my favorites. Bob Brookmeyer is always quality too.
That's pretty cool that you got to play with Steve, always like his records. Was it a pickup band kind of situation or anybody else cool in the band?
practice with a metronome and work on developing a solid swing feel
Learn some changes and start improvising over them
Find players you like and try to emulate their playing (not that your ultimate goal is to sound like them, but you will learn a lot just in the process of trying to play like them.)
>Learn some changes and start improvising over them
Here's what I don't get: when I'm playing over changes- say Am7 to D7 to some other shit- do I only play the notes in the chord (in this case A, C, E, and G then D, F#, A, and C#)?
All twelve notes are valid in the right context.
If you're thinking of Am7 as ACEG and D7 as DF#AC you're coming at it from the wrong angle already. You want to at least be considering the 9th and the 11th as part of the chord. And let's put some extensions on the D7... How about the #9 and b13? Try building your ideas from the color notes of the chords.
in a D7, you flat the 7th so it would be D F# A and C, not C# dig? focus on the 3rds and 7th of the chords and then use scales to connect them.
How High the Moon is a good song to practice ii-V7s https://www.youtube.com/watch?v=KMa_fKYWqMU
I'm already lost. I may know more than I think I know, but how would I know what the 9th and 11th are? Or the # 9 and b13? How would all twelve notes be valid? I'm sorry for being such a [spoiler]pleb[/spoiler], but I have no clue what I'm doing.
slow your roll
It's Cool! Don't worry about that stuff right now, you have the right idea of concentrating on chord tones. work on starting your phrases on the 3rd or 7th of the chord and using other notes in the scale the chord is based on to make your way to the next chords 3rd or 7th
Your 7th chords are built on your Root (A) 3rd(C) 5th(E) and 7th(G) keeping this pattern going we can call B the 9th (or sometimes 2nd) D would be the 11th.
If we consider these notes a part of the chord that makes almost a full scale of "chord tones" with just the 13th of the chord to consider whether it is the natural 13th or b13. Any of the chromatic notes in between those can be valid in the context of a chromatic passing tone or for a variety of other reasons.
Thanks for clearing things up. I'm playing in my school's jazz band, and I stupidly chose to do a solo on a song without knowing anything about the changes. Granted, nobody else seems to either, but I still feel obligated to learn more about it.
Ok, so whiplash introduce me to the wonders of hank levy and don ellis. Who here has heard the nice brassy 70's sound of these artists? Pic related
Bro when you guys perform you should just not even give a fuck about the changes but just stand up and fucking belt out the most aggressive free jazz solo you can muster up and just don't stop even when the rest of the band comes back in.
And you should record a video and upload it to youtube
It's some simple, latin rock style piece. Key of C for me, but I play tenor. Keep in mind that this is a very unofficial high school jazz group. These are the changes: Am7 D7 B-crossed-out-circle7 E7 for 16 bars. The chords change every two beats, it seems. We're performing this at our school for like 300 people and at a solo ensemble festival for a competition. I have two weeks to learn about this.
please do. Chain reaction is a 12/8 style ballad in 13/8 (3+3+4+3) and quintessence is a 5/4 swing tune
ok, so A- D functions as a v I in D lydian and Bhalfdim E functions as a v I in E mixolydian.
The key says C, but I would center myself in A but with a minor third in a scalar fashion.
Or less complicated
Am D Use: D E F# G# A B C# D
Bhalfdim E Use: E F# G# A B C# D E
mind that Bhalfdim has an F natural and only use leading tones while encircling
For those two people in the audience who will get it and look at each other like this.
See how the 3rds and 7ths work together? build off that. concentrate on rhythms
Do whatever you love the sound of best. Before too long you just need to pick something and stick to it. Work through shit that is hard, tone development should be one of the first things you ever work on. Long tones, long tones, long tones. Play your scales every single day, all 12 major ones until you have them down at 220 BBM. Then play your 1-3-5 inversions (5-3-1, 3-1-5, 3-5-1). Print off a tonguing exercise from online and do that, every single day. This should take you 30 minutes to start and once you get it down it should only take 5-10 minutes.
Do long tones.
Seriously, do some fucking long tones, with a tuner in front of you.
I felt like an asshole, but it was a hell of a lot easier to do. You should never remember what you play in an actual concert because it should be about feeling, not thinking, but regardless, I kind of know my own tricks.
You can, but I would start off by getting pretty good at one thing before being mediocre or worse at two things. I was in one of the top high school bands in the country and only ever played alto sax my entire time.
I don't mean to sound like an asshole by saying that, but I thought my credibility would help persuade you a little bit.
never a whole solo. it's bad enough listening to myself. It's finny how much easier it is transcribing yourself than anyone else. You know all your own tricks. But then sometimes you're surprised with what you came up with when you actually write it down.
My teacher told me to transcribe one of my solos so that i'll can be more aware of my playing and to get rid off anything I won't like.
So did transcribing your solos helped with that? did you notice any faults in your playing after transcribing it that you stopped doing after you transcribed it?
No, not really. Listening to yourself is pretty helpful, but if you're around other people who are as good or better than you they will let you know if what you played was sad or if they dug it.
next rehearsal as for some constructive criticism. Also check the jam of the week group of fb. Or if you want to post a recording on here, I'm sure /mu would love to tear you apart
Well people didn't tell you it was shitty, they just would help you out in one way or another. I was in a very competitive program for the top band, but the band was incredibly tight once you got into it. I had been playing with most of these guys since 6th grade, so I was best friends with most people in the group.
really? I find most people don't like him right away. They claim he's too "noisey" and "ugly sounding". I usually start people off with Bill Evans or Art Blakey. But I'm glad i people are diggin' Mingus on their first go round.
Yea I think it'll be really good to ask for constructive criticism. How can I post a recording here? I don't have a mic to record with vocaroo.
I'm also pretty good friends with the jazz band i'm playing with but for some reason we don't really give criticism to each other (we do sometimes though). It's really weird and bad now that I think of it. Today i'll be meeting with them so i'll talk about it.
well if you don't have a mic you're probably S.o.L.
steal (buy) one or if you're on a laptop it might have one built in.
Just make sure that for each criticism said a compliment on something dome well is offered also. Otherwise you will all start to hate each other.
Eh don't think i'll buy a mic just so I can post something on /mu/.
>Just make sure that for each criticism said a compliment on something dome well is offered also
yea that's true. sometimes you can forget to say good things and people might get offended.