...for the jazz cats ...

A couple of interesting new releases:
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This is the first record Shorter has put out in eight years; it's his same quartet (with Brian Blade on drums) with six new Shorter compositions. Looks tempting.

I've already pre-ordered my copy, but for those of you who are on the fence, NPR has the entire album up for listening.
http://www.npr.org/2013/01/27/170099510/first-listen-wayne-shorter-without-a-net

Let's just say I don't regret buying it. :)
 
Not an album, but I just finished this book in two days (compared to Beneath the Underdog, which has taken me three months to still not finish) and it's hilarious and really insightful.

The chapter titled "Sinatra sings Weather Report" is probably my favorite. I hope that motivates someone to read this. =)

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Sorry for the double post, but maybe someone can help me. Can anyone ID when they play the C section? They don't play it in the initial head, right? It seems like AABA, but then maybe during the solos they play the C instead of the last B? It's a tough tune, especially not really knowing melody.

Dizzy Moods

k184dx.png

(Not intending to violate any copyright infringement)
 
Sorry for the double post, but maybe someone can help me. Can anyone ID when they play the C section? They don't play it in the initial head, right? It seems like AABA, but then maybe during the solos they play the C instead of the last B? It's a tough tune, especially not really knowing melody.

Dizzy Moods

k184dx.png

(Not intending to violate any copyright infringement)



I just gave it a quick listen and to me it definitely sounds like AABC
 
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The C section is a repeat of the A section, the form of the song is AABA. On lead sheets, the letters AB and C are really "rehearsal" letters. Hope this helps, John
 
The C section is a repeat of the A section, the form of the song is AABA. On lead sheets, the letters AB and C are really "rehearsal" letters. Hope this helps, John

Correct. But why complicate it with analysis? It is what it is, so just play the page, no?
 
Correct. But why complicate it with analysis? It is what it is, so just play the page, no?

Well my reading isn't really where it should be and this is my first time really playing in this type of setting (jazz at school with charts, playing with guys who are much better players than I).

When the bass player brought it in last week, it was essentially my first listening of the song, then we played through it. I really can't sight-read.

It was all just a bit over my head.
 
I just got home from a night at Orchestra Hall in Detroit, where Jack DeJohnette performed with his group. It was a remarkable, inspiring performance. It's been probably 25 years since I saw Jack play live, so this was a very special treat.

I'm still buzzing with inspiration. Can't wait to get behind the kit and do something with this energy.
 
The C section is a repeat of the A section, the form of the song is AABA. On lead sheets, the letters AB and C are really "rehearsal" letters. Hope this helps, John

the fact that John Riley reads my thread kinda makes my day.....I can't lie
 
the fact that John Riley reads my thread kinda makes my day.....I can't lie

I know, right?!

Mr. Riley has actually been kind enough to respond to a couple of PMs I sent him a while back on both his technique and a selection of records to transcribe.

I feel very fortunate to have him on this forum. A very gracious gentleman indeed.
 
the fact that John Riley reads my thread kinda makes my day.....I can't lie

+1

John's a step above most professionals and a gifted teacher/communicator while being a monster player at the same time. A rare combination.

I'm not trying to suck up - just telling it like it is in my view....
 
+1

John's a step above most professionals and a gifted teacher/communicator while being a monster player at the same time. A rare combination.

I'm not trying to suck up - just telling it like it is in my view....

I share your view

to me John is a throw back while being and innovator at the same time

we are lucky to have someone like him around

we missed the golden era of Be Bop and Hard Bop.....but we have guys like John , and Jeff Hamilton etc. that hold down that same fort in a time when it is not "fashionable "

I for one am very thankful for that
 
The new Wayne Shorter Quartet recording, Without A Net, is outstanding. I'm digging it right now. If you like this band (how can you not?), you will love it.
 
Apologies if this has already been posted, or is something all you guys are totally familiar with, but this just popped up in my youtube homepage, and these guys are friggin smokin' in this performance.

http://youtu.be/nkJoTY0GE8M
(Tony Williams Quintet - NY Live 1989.)
 
The new Wayne Shorter Quartet recording, Without A Net, is outstanding. I'm digging it right now. If you like this band (how can you not?), you will love it.

I've been digging it too. There's an interview with Wayne in this months DownBeat discussing the album worth checking out.

keep it cool
r
 
Apologies if this has already been posted, or is something all you guys are totally familiar with, but this just popped up in my youtube homepage, and these guys are friggin smokin' in this performance.

http://youtu.be/nkJoTY0GE8M
(Tony Williams Quintet - NY Live 1989.)

Please don't kill me, but in this video I find Tony's drumming, as truly great as it is, to be overplaying. The soloists don't have a chance.
 
Please don't kill me, but in this video I find Tony's drumming, as truly great as it is, to be overplaying. The soloists don't have a chance.

I partly agree with you. Any other drummer should be mindful of this in a similar situation. But it is Tony. The drums are going to be prominent, and though he is restrained a lot of the time he's going to respond in some unexpected ways; almost confrontational. But there's a logic behind it as he gets out of the way almost as soon as he comes in. At least to me. And Billy Pierce, Ira Coleman and the rest aren't exactly wall flowers.

-John.
 
I partly agree with you. Any other drummer should be mindful of this in a similar situation. But it is Tony. The drums are going to be prominent, and though he is restrained a lot of the time he's going to respond in some unexpected ways; almost confrontational. But there's a logic behind it as he gets out of the way almost as soon as he comes in. At least to me. And Billy Pierce, Ira Coleman and the rest aren't exactly wall flowers.

-John.

I see it this way as well. If anyone else played like that, I would be more critical. But Tony is Tony. Historically and everything else, that matters.

That said, I much prefer the 1964-1965 version of Tony. His playing on those early records is almost unrecognizable from the post-Lifetime edition. Still explosive and bursting with creativity, but more... exploring, I guess is the word I'd use. More use of dynamics and a lighter touch overall.
 
that type of explosiveness and exploration you can hear all the way back to the Jackie McLean recordings of him at 16 and 17 years old

I'm not sure there is another drummer to ever touch sticks that I enjoy the playing of more than Tony

and in my opinion his best work happened between Vertigo and MIles in the sky

but Tony can do no wrong in my opinion .... especially on those early McLean, Dolphy and Davis records

no one before or since has approached the instrument like Tony Williams
 
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