“The Barry Harris Workshop Video is an outstanding educational package which provides a wealth of material for students, teachers and musicians alike.” Jackie McLean “Barry’s video will, without question, help anyone who is seriously interested in gaining a knowledge of the art of improvisation.”.
![]()
Hey Christian. Sure it can be very different, but so can #9 or b3 melodically or harmonically.
And yea your analysis is very common between my understandings of what is jazz and yours. But with out a reference. What are we talking about.I'm not saying this to knock any style of approach to playing any music. But do you think you might be missing something.I generally look at music both vertically and horizontally all the time, usually throw in spatial aspects and all the other BS. When I perform pop gigs or record.
I play the style of the music, and if I don't get it. I'm all ears.I'm in studios for two different projects this week. Ones basically jazz pop.
And the other is a blend of jazz and brazillian.two very different styles of performance and note choices. Both vertically and horizontally. And all the other BS. Both will have notated out parts with solo sections etc. I haven't seen the parts, but pretty typical.There are a few common practice blue note references. I just tend to use MM for Jazz relationships. Not always.Your approach is basically the same as mine in that case.
It's good to have them both as you say.I have had some strange conversations with vertical thinkers - often great players. Take a smooth one. It seems obvious to me that the melody to this tune is a bluesy swing riff structured around the tonal centre (based heavily around f6 with a blues b3 and a couple of passing tones) and that the chord progression is being dealt with as a static vamp in f.My colleague was trying to rationalise everything in terms of vertical relationships. It's odd because he only plays swing gigs, it's not like he's a modern cat. And he is very good at swing.In the end the pianist (the pianist!!!) basically said 'it's the blooz silly.' And then we could get back to talking about farts.I also know a fantastic bop improviser who is a bit puzzled this song.
I tried to point out that playing the changes all the time on it was not necessary. (If you do want to blow on the changes its actually a pretty typical turnaround - it's in night and day and djangology for example.)Anyway not sure what my point was. I'll nip off before the train goes awol.:-).
![]() Comments are closed.
|
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
March 2023
Categories |