Yeah, and there are 2 more - one long and one short. In 4/4 I think.
SOTM - JUNE 2021: Three in Three
- Thread starter 6441
- Start date
I have two from Bobby's one is the same with trumpet.
View: https://soundcloud.com/randulo/all-blues
Since no one else has come forth, here's one from today with a wonderful BiaB ending </sarcasm>. This is pretty flawed, but here it is, no guarantees.
View: https://soundcloud.com/randulo/gravy-waltz-1
(re-recorded 11 Jun.)
View: https://soundcloud.com/randulo/gravy-waltz-1
(re-recorded 11 Jun.)
Last edited by a moderator:
- Messages
- 8,160
- Location
- Bristol, UK
@PMason247 you are correct - the written notes match the first backing track that @randulo wanted to use.
The supplied backing track has an 8-bar intro and 4 bars extra between the end of the head first time and the solo section. It finishes with a simple 4-bar ending after the last repeat. It corresponds to the RealBook version but 6x for repeats and with a 4-bar coda at the end. Notes attached.
Yes, that works better. Thanks!
The backing track is a nice temo and has a great groove.
I'm really sorry we couldn't all use the Bobby's backing track. Further, I tried to do a BiaB track and gave up, it was decent to a point, but just not very good. I made the 12/8 Albert King one with no problem, and Gravy Waltz was already a BiaB file somwhere.
OK, my first take. Comments are welcome.
It's also first time I've used my laptop to record, which was difficult to get a good mix.
I'm using Waveform Free, AKG P120, Behringer UM2, Yamaha YSS 4752, Pillinger PJ hard rubber Rigotti Gold.
Also the first Time I've used Soundcloud too!
It's also first time I've used my laptop to record, which was difficult to get a good mix.
I'm using Waveform Free, AKG P120, Behringer UM2, Yamaha YSS 4752, Pillinger PJ hard rubber Rigotti Gold.
Also the first Time I've used Soundcloud too!
Wade Cornell
Well-Known Member
- Messages
- 2,716
- Location
- New Zealand and Australia
Nicely played with good ideas and inflection.
My opinion as host: AN impressive job! Your time is good, and that's something not available to everyone. Playing along with the vamp in the intro and the head were nicely phrased, well placed in time. Again, that's a gift, hard to come by if you don't have it. You do.
Throughout, there are nice ideas sprinkled around that could be put together in a more recognizable "structure" by repetition of phrase, then slightly changed but recognizable related phrase. You already do a little of that, instinctively, and it's cool.
Development: Your solo starts with some nice things, but I suggest they may be a little dense for the very beginning. Longer notes (or less complex phrases) in the first verse would leave more room to develop the energy. Near the middle, there's a part that would have been great in the first verse. In general, the long notes, just like you played at the very end, would have been a nice start. (Not too many, or too long, as the song begins with a lot of that. Just a little activity, or density.)
A couple of times during the IV chord, you played the one note that changes between I and IV, the major 3rd. This can be done, but it needs to be inside some kind of 'trick' that hides/justifies it, like say used as a passing note, resolving to the 'correct' Bb concert. These were in the middle of phrases, though, not shocking or insisted upon.
You did an admirable job, having not played it muchbefore. More coherence will come as you play it more, especially with real humans, reacting with you.
These suggestions, aren't meant to criticise, only to give you some things to think about.
Many thanks for your kind words! And no criticism taken. It is difficult to get inspired when playing along to backing tracks, which in itself has taken some work. So I would love to start gigging again at some point (it has been a long time for me).
I will do some more work on the progression of the solo as you suggested, and post another take. One question I do have is what alterations can we play over these chords? Would be nice to add some colour. This is something I really want to work on, and not something I have studied in the past.
I'm also not so good with the mix on the laptop. So any tips on how to make the saxophone sound like its in the mix with the backing track would also be appreciated.
@PMason247 The mix is fine, unless you mean to publish, it's "close enough for jazz" 
I could hear everything.
One of the most common bases for jamming over those altered D and D# chords are symmetric scales and patterns. The whole-half scale starting on the 7th, i.e, C, D, D#,F etc. which is often either played as is, ascending, Over a D7#9 for example,
or broken up in many ways, this is a typical one (again, over an altered dom D7th:
Perfect example:
View: https://soundcloud.com/randulo/watermelon-dim-john-viavattine-sr/s-0o6DO6YMUFg
Watermelon Man turnaround, on the C John starts it on the third (E, F, G, G#), sounds good, no?
The whole tone scale is also a possibility, with some small, personal changes. The more advanced kinds of things were done by @Guenne in his take above, major triads (G chord with an E Maj triad) that can create what is in effect a 13b9, for example. Playing patterns can be a trap, though; they can sound like patterns, not music. ANd the whole-half has been used a lot in jazz, so really needs to be broken up.
I could hear everything.One of the most common bases for jamming over those altered D and D# chords are symmetric scales and patterns. The whole-half scale starting on the 7th, i.e, C, D, D#,F etc. which is often either played as is, ascending, Over a D7#9 for example,
or broken up in many ways, this is a typical one (again, over an altered dom D7th:
Perfect example:
View: https://soundcloud.com/randulo/watermelon-dim-john-viavattine-sr/s-0o6DO6YMUFg
Watermelon Man turnaround, on the C John starts it on the third (E, F, G, G#), sounds good, no?
The whole tone scale is also a possibility, with some small, personal changes. The more advanced kinds of things were done by @Guenne in his take above, major triads (G chord with an E Maj triad) that can create what is in effect a 13b9, for example. Playing patterns can be a trap, though; they can sound like patterns, not music. ANd the whole-half has been used a lot in jazz, so really needs to be broken up.
Last edited by a moderator:
Thanks! I will experiment. Diminished scales is something I have been working on, but not net fully internalised. I will try that over the middle.@PMason247 The mix is fine, unless you mean to publish, it's "close enough for jazz"
The most common basis for jamming over those altered D and D# chords are symmetric scales and patterns. The whole-half scale starting on the 7th, i.e, C, D, D#,F etc. which is often either played as is, ascending, Over a D7#9 for example,
View attachment 18419
or broken up in many ways, this is a typical one (again, over an altered dom D7th:
View attachment 18420
Perfect example:
View: https://soundcloud.com/randulo/watermelon-dim-john-viavattine-sr/s-0o6DO6YMUFg
Watermelon Man turnaround, on the C John starts it on the third (E, F, G, G#), sounds good, no?
The whole tone scale is also a possibility, with some small, personal changes. The more advanced kinds of things were done by @Guenne in his take above, major triads (G chord with an E Maj triad) that can create what is in effect a 13b9, for example. Playing patterns can be a trap, though; they can sound like patterns, not music. ANd the whole-half has been used a lot in jazz, so really needs to be broken up.
- Messages
- 609
- Location
- Zurich
Which bundle is it, Randy? I can't find it - his website needs some work!
I think it's this one:
All Blues 2 backing tracks with/without tpt:
all blues smooth jazz backing track
all blues by miles davis jazz backing track with jack thammarat
bobbysbackingtracks.com
Similar threads
-
-
-
Looking for funky but still tasteful and melodic jazz.- Started by Bernie
- Replies: 25
-
