SOTM SOTM February 2021 "A weaver of dreams"

@Dave E it seems you have a latency problem with your recording. It is fixable by adjusting the positions on the timeline, but better if you adjust the buffering by generating and recording a click track then adjusting in preferences so that the recordings are initially synchronised. Always, unless you have good reason, keep the tracks backing and sax sync locked. There are a few youtube videos showing how to do this. Regards Al.
 
Hello people.
OK - Take 2. This time with the Bass/Drums version. Double the length that @nigeld kindly put togther (how did you do that BTW?). Tried for a layed back feel, bit like a lazy Sunday afternoon, which is how I see the Rollins recording. Recorded using only my mobile, so the bass drops out a couple of times (oh well :rolleyes:) hopefully you will still enjoy it. Many thanks to @fabriziodalisera for hosting. Anyone feel free to comment.


Ireland Rugby shirt because Six Nations is on at the moment :thumb:
 
 
Last edited by a moderator:
6441 said:
Started working on this today, so the melody is far from accurate, but it is personal, and that counts for me. Can't wait until I actually learn the tune.
https://soundcloud.com/randulo%2Fweaver-of-dreams%2Fs-hMXLj3h6z5Z
View: https://soundcloud.com/randulo/weaver-of-dreams/s-hMXLj3h6z5Z

Bonus:
https://soundcloud.com/randulo%2Fweaver-of-dreams-ballad%2Fs-ho1MreLyWgb
View: https://soundcloud.com/randulo/weaver-of-dreams-ballad/s-ho1MreLyWgb
Click to expand...
Thanks for your version, I liked the way you played the head, with a melancholy "vulnerable" approach!
 
PMason247 said:
Hello people.
OK - Take 2. This time with the Bass/Drums version. Double the length that @nigeld kindly put togther (how did you do that BTW?). Tried for a layed back feel, bit like a lazy Sunday afternoon, which is how I see the Rollins recording. Recorded using only my mobile, so the bass drops out a couple of times (oh well :rolleyes:) hopefully you will still enjoy it. Many thanks to @fabriziodalisera for hosting. Anyone feel free to comment.


Ireland Rugby shirt because Six Nations is on at the moment :thumb:
Click to expand...
Hello @PMason247 , this is a lot better than your first version!
I liked the relaxed apporoach and the way you started the solo!
You are the only one at this point that let me hear the II7 chord that then becomes minor.
The II that is dominanth and then becomes minor and "engage a II- /V7/ I maj7 cadence is common in many tunes.
I just want to grab this occasion that you gave me to speak to everybody here on the forum.
Outlining that changes in our improvisation is important.
PMason did it on that chord, but it is important to do this on the whole chord structure.
A big part of my study is transcribing solos by ear from records.
If you play a great solo by a great player without any accompaniment you can hear the changes.
No matter if is Gordon, Coltrane, Sims, Getz, Mulligan, Adderley, Rollins, Parker or an another player.
All of them had their style but they always outlined the changes with their phrasing.
It is not easy, but the important part is that the saxophone can make the changes, maybe less explicit than a piano, but it can play the chords and outline the changes.
I suggest everybody to play a chorus of arpeggios (only chord tones) before starting to improvise.
This can make us a clear "chord map" in our head that can help us both soloing and keeping the structure without getting lost.
This is even more important if you want to learn how to play unaccompanied.
For example take the acapella intro on my "crossthing" record, the first video at the beginning of this thread.
I started freely, but I entered into the chorus at 0,29 then I stopped at 1,00 on the V7 and played a cadenza on that chord, then at 1,01 I played a turnoaround I/VI7/ II-7/ V7 to make clear to the drummer where I would bring in the tune and the beat.
That logic comes from the chord changes.
And I improvised on the chorus with just bass and drums but keeping in my mind that I wanted to make the chords clear to the listener. At least I hope I did it...
 
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Hello @nigeld thanks for your recording and for your precious help with the backing track.
Your version is "correct" in sense that you played the melody and the right tempo.
But all of the notes are at the same volume, it's a "too legit" approach to a standard.
I encourage you to:
1 try to memorize the melody
2 try some nuances, for example dynamic variations, vibrato on some notes, accents and embellishments.
In that way your sound and your melody will surely be more expressive.
Something that helps me a lot is listen to some great singers.
They have a loose approach to the rhythm that works great on our instrument too.
The saxophone at its best is, in fact an extension of the voice.
Lester Young used to listen to the singers a lot and he claimed that a saxophonist should even memorize the lyrics of the song to master it.
A great and "hip" point of view. What a tremendous player he was!!!!
 
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fabriziodalisera said:
Hello @PMason247 , this is a lot better than your first version!
I liked the relaxed apporoach and the way you started the solo!
You are the only one at this point that let me hear the II7 chord that then becomes minor.
The II that is dominanth and then becomes minor and "engage a II- /V7/ I maj7 cadence is common in many tunes.
I just want to grab this occasion that you gave me to speak to everybody here on the forum.
Outlining that changes in our improvisation is important.
PMason did it on that chord, but it is important to do this on the whole chord structure.
A big part of my study is transcribing solos by ear from records.
If you play a great solo by a great player without any accompaniment you can hear the changes.
No matter if is Gordon, Coltrane, Sims, Getz, Mulligan, Adderley, Rollins, Parker or an another player.
All of them had their style but they always outlined the changes with their phrasing.
It is not easy, but the important part is that the saxophone can make the changes, maybe less explicit than a piano, but it can play the chords and outline the changes.
I suggest everybody to play a chorus of arpeggios (only chord tones) before starting to improvise.
This can make us a clear "chord map" in our head that can help us both soloing and keeping the structure without getting lost.
This is even more important if you want to learn how to play unaccompanied.
For example take the acapella intro on my "crossthing" record, the first video at the beginning of this thread.
I started freely, but I entered into the chorus at 0,29 then I stopped at 1,00 on the V7 and played a cadenza on that chord, then at 1,01 I played a turnoaround I/VI7/ II-7/ V7 to make clear to the drummer where I would bring in the tune and the beat.
That logic comes from the chord changes.
And I improvised on the chorus with just bass and drums but keeping in my mind that I wanted to make the chords clear to the listener. At least I hope I did it...
Click to expand...
Many thanks for your comments.

Let me check, when you say the II7 chord, I assume you mean at bar 17, the E7 to Em7? (which does indeed fall into a 2-5-1)

In my “return to playing” (thanks to the pandemic!) I'm trying more to understand the structure of the tune. Before I play a single note I sit down with the score, and a pen and try to spot things like II-/V7/Imaj7 structure. I think this helps a lot with soloing, not only to try and bring out the chord structure throughout the tune but also to simply things in your mind. For example, for a major 2-5-1 instead of thinking Em7 followed by A7 followed by Dmaj7 (which can be confusing) - I think Dmaj7 (playing the chord tones for each chord, but they have the same notes in their scale), somehow this helps me. I have also started to play the arpeggios of each chord before thinking about soloing.

I’m not sure if this helps anyone else, but it is helping me. I’m from a funk background, which to be honest, everything is one chord, and you simple embellish with flat 5, minor thirds, 7th’s, etc… My goal is to really get into jazz chord changes.
 
PMason247 said:
Many thanks for your comments.

Let me check, when you say the II7 chord, I assume you mean at bar 17, the E7 to Em7? (which does indeed fall into a 2-5-1)

In my “return to playing” (thanks to the pandemic!) I'm trying more to understand the structure of the tune. Before I play a single note I sit down with the score, and a pen and try to spot things like II-/V7/Imaj7 structure. I think this helps a lot with soloing, not only to try and bring out the chord structure throughout the tune but also to simply things in your mind. For example, for a major 2-5-1 instead of thinking Em7 followed by A7 followed by Dmaj7 (which can be confusing) - I think Dmaj7 (playing the chord tones for each chord, but they have the same notes in their scale), somehow this helps me. I have also started to play the arpeggios of each chord before thinking about soloing.

I’m not sure if this helps anyone else, but it is helping me. I’m from a funk background, which to be honest, everything is one chord, and you simple embellish with flat 5, minor thirds, 7th’s, etc… My goal is to really get into jazz chord changes.
Click to expand...
Hello, that chord is at bar 13 and 14 then in turns into minor. When I learn a song I learn ALL the chords. I know that E-7/A7/Dmaj are all in the key of D, but if I want to create some tension/release at that point I can alter the A7 with superlocrian or diminished scale (or other tools like substitution, upper structure ecc.) and then resolve it to D. So, playing the major scale is possible, but does not sound "jazz". Particularly in bebop and hard bop idioms altering the dominant (V) and then resolving on the tonic (I) is crucial and it is a charachteristic of that kind of music language. Of course I don't want to say that you must alter every V7, but it is important to know how to deal with it. If you look at my youtube channel there is a video about working on chords on a standard, I called it "chord workout". I don't want to link it here because I didn't play "a weaver of dreams"" on that video...
 
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