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3rdwaverider

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Everything posted by 3rdwaverider

  1. I use a Digitech Trio+ Band Creator. It integrates a looper with a bass and drum track. It’s been a game changer.
  2. I had the same experience first time I heard it. It wasn’t until they played the bridge that I recognized it. What’s remarkable is how soon after the song’s original release that Grant released his cover. But that’s what jazz players have done forever. Interpreting Broadway tunes was a mainstay for players of the War generation. Grant and Wes covered the standards but they also took on pop tunes. Listen to Wes’ cover of Goin out of My Head, or People...
  3. @NeilES335 kicked-off the Beatles set so I thought throw another 45 on the turntable. I first heard this interpretation at a live show in Portland - a tribute to Grant Green by guitarists Dan Balmer and Dan Faehnle. The next day, I transcribed Grant Green's cover from his 1966 album that featured the tune as the title track. It's different. You will either like it or you won't ... but that's jazz! https://soundcloud.com/user-109335979/i-want-to-hold-your-hand
  4. Love that song @NeilES335 ! And your melody line was clear and the on the beat ... plus, we get to hear you improvise on this one! So glad you added this to the set list. Lets see if we can keep it rolling.
  5. Nice work with this tune, @NeilES335. Your chord voicings in particular stand out. Your touch is excellent. I can hear each note in the chord clearly and the voice leading is always going the right direction. Merry Christmas!
  6. Thank you, Neil. The chart I used is in The Real Book, Volume 1. The harmonized chord melody was an exercise I worked through with my teacher, when I was deep into learning altered chords. The key is to keep the melody on the uppermost note, either 1st or 2nd string, and find the chord shapes right underneath them.
  7. Thank you, Greg. It is good to be back. Auditions for Jazz Port Townsend are required for placement, not for admission. Guitarists were required to submit three tunes: a chord melody (Here’s That Rainy Day), a bebop tune (Have You Met Miss Jones), and a jazz-blues (Sandu). The recordings came out fine. But to my surprise we were asked to perform live in an combo setting upon arrival. No sheet music - just folks calling tunes at random - with all the instructors in the audience. I leaned real fast to call tunes I know!
  8. This tune was composed for the broadway musical, Carnival in Flanders, by Johnny Burke and Jimmy Van Heusen. The play opened in 1953 and ran for just six days. What is best remembered about the production is this tune from the second act. I became aware of 'Rainy Day' listening to a recording by Wes Montgomery on his Bumpin' LP. This chord melody arrangement was inspired by the first chorus of Kenny Burrell's cover on his LP, Soul Call. I recorded it for an audition for the Jazz Port Townsend Workshop in 2019. Thanks for listening!
    Steve - Question about the harmonized major scale exercise in the bonus workout: why not simply play the vi chord rather than substituting the IV? Is it to keep the voicing relatively close? Thanks!
    This is a truly amazing resource! I completed the L&MG Course some years ago and moved on to explore jazz guitar, attending jazz workshops, taking private lessons, and finally - playing gigs regularly. This summer, I am attending an online jazz workshop and the instructor said he presumed we'd have the basic triad shapes nailed. It is the baseline for a course on jazz chord substitution. So I returned home to Steve's house and what do I discover - well-written, stepwise approach to triads, complete with video instruction. Steve - thanks so much for this - it's a life-saver! Note: you mention that the riff you outlined on page 6 of the Minor Triads (1st-3rd strings) is a contrafact of a Pat Metheny tune, but you didn't mention which one... so I've been working through his discography searching for it. Like a lot his tunes, I recognize them by the melody and not by name. Well - I think I found it - it's Phase Dance on the Pat Metheny Group album. He repeats the theme in the second half of April Joy, also on that album, which he cut in 1978 with Danny Gottlieb, Mark Egan and Lyle Mays. It's on the ECM label. It's a very memorable tune - thanks for sharing it.

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