tag:blogger.com,1999:blog-1713397068832099475.post4846772471234033089..comments2023-12-21T03:13:11.317-08:00Comments on jazztruth: Viewer Mail: Improving Jazz VocabularyGeorge Colliganhttp://www.blogger.com/profile/11277569607502834278noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-1713397068832099475.post-55292497771928012342012-01-11T04:46:24.819-08:002012-01-11T04:46:24.819-08:00This is a great lesson George. I have taught this ...This is a great lesson George. I have taught this idea ( but not as well put as you did here) at Jazz camps. Very well put.<br /><br /><br /><br /><br /><a href="http://www.readingcare.com" rel="nofollow">vocabulary flashcards</a> <br /><a href="http://www.readingcare.com" rel="nofollow">improve vocabulary fast</a>readingcarehttps://www.blogger.com/profile/16671397447783841205noreply@blogger.comtag:blogger.com,1999:blog-1713397068832099475.post-78708019893749499502011-12-14T01:50:11.268-08:002011-12-14T01:50:11.268-08:00sealey toolsNaples Florida houses for salefor your...<a href="http://toolstoday.co.uk/" rel="nofollow">sealey tools</a><a href="http://levitanrealtors.com/" rel="nofollow">Naples Florida houses for sale</a>for your curiosity, Aaron's solo harmonic concept on that jimmy greene (criss cross) album was more accessible, the lines were all inside and most he went was 9/11 on melodic stuff and when longer lines he would play bebop lines and the most were III/VI arpeggios subs, and alt on Vs i think the only time he went a bit advance was on the tune "Flower" he played F# triad on A7alt and a line of penta up in 4ths, the best stuff was his rhythmic stuff, maybe he kept simple just to go thru the changes (i.e. fly little bird fly might not be simple... if i.e. I compare to hank mobley's solo on same tune on Donald byrd's Mustang album - you tube) and maybe those changes are fairly in so he didn't need to play advance i.e. it didn't have much elongated dorian measures where he could've gone out a bit harmonicallychiphttps://www.blogger.com/profile/12210952304741118318noreply@blogger.comtag:blogger.com,1999:blog-1713397068832099475.post-50061965313087332392011-12-13T20:17:49.236-08:002011-12-13T20:17:49.236-08:00Thx George for your inputs!! It's Chris K the ...Thx George for your inputs!! It's Chris K the anonymous, reason why it was extensive was because I wanted to give you a full picture of what I'm going through, so you have all the info to analyze just in case. Ok cool your advice will stick with me for long time I'll work on it real hard and hopefully in a year or two I'll report good results. Also hopefully I can take time off work and join your jazz camp when it's due next, take care you real cool man~ Also just fyi - not sure if I told you this but I knew about you because I had bought your Ultimatum CD, some tunes are soooo beautiful and I think lots of mixed meters, your trio album from criss cross is next on my list because I want to hear how you improvise on standards. BIG Thx again George!!!!!!! I should quit my day job and just come to your school and study... <a href="http://www.charmnjewelry.com/" rel="nofollow">gold bracelet charms</a><a href="http://www.opensesameusa.com/" rel="nofollow">Arthritis Aids</a>chiphttps://www.blogger.com/profile/12210952304741118318noreply@blogger.comtag:blogger.com,1999:blog-1713397068832099475.post-91402838783673531772011-02-16T14:30:10.556-08:002011-02-16T14:30:10.556-08:00George sorry one more (hope you don't mind) th...George sorry one more (hope you don't mind) this is a question that came up while re-reading your suggestions. This area where u mentioned " I like Tristano's idea ..... It's like soloing in slow motion. Eventually, you want to be able to do that in time." <br /><br />From your experience, if we do this every week (realistically speaking) will we in time be able to compose faster and faster and eventually in real time at tempo? Is that the skill we will develop into? I re-read your post again many times and maybe i'll find the answer. <br /><br />for your curiosity, Aaron's solo harmonic concept on that jimmy greene (criss cross) album was more accessible, the lines were all inside and most he went was 9/11 on melodic stuff and when longer lines he would play bebop lines and the most were III/VI arpeggios subs, and alt on Vs i think the only time he went a bit advance was on the tune "Flower" he played F# triad on A7alt and a line of penta up in 4ths, the best stuff was his rhythmic stuff, maybe he kept simple just to go thru the changes (i.e. fly little bird fly might not be simple... if i.e. I compare to hank mobley's solo on same tune on Donald byrd's Mustang album - you tube) and maybe those changes are fairly in so he didn't need to play advance i.e. it didn't have much elongated dorian measures where he could've gone out a bit harmonically <br /><br />ok thx for your time and I look forward to the present-future CD!Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-1713397068832099475.post-19360015533903819552011-02-16T14:05:20.896-08:002011-02-16T14:05:20.896-08:00Thx George for your inputs!! It's Chris K the ...Thx George for your inputs!! It's Chris K the anonymous, reason why it was extensive was because I wanted to give you a full picture of what I'm going through, so you have all the info to analyze just in case. Ok cool your advice will stick with me for long time I'll work on it real hard and hopefully in a year or two I'll report good results. Also hopefully I can take time off work and join your jazz camp when it's due next, take care you real cool man~ Also just fyi - not sure if I told you this but I knew about you because I had bought your Ultimatum CD, some tunes are soooo beautiful and I think lots of mixed meters, your trio album from criss cross is next on my list because I want to hear how you improvise on standards. BIG Thx again George!!!!!!! I should quit my day job and just come to your school and study...Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-1713397068832099475.post-79510848714470125522011-02-08T17:08:12.543-08:002011-02-08T17:08:12.543-08:00Some excellent suggestions. I decided some years ...Some excellent suggestions. I decided some years ago that most of my favorite jazz improvisers--from Louis Armstrong to Joe Henderson--are motivic players. Consider Miles Davis's 1959 solo on "Freddie Freeloader" from KIND OF BLUE--a perfectly shaped blues solo that begins and ends on (and develops from) the same three-note phrase. One of many possible examples.<br /><br />Learning to take a simple idea and develop it logically is one of the hallmarks of good jazz improvisation--and of life in general. In fact, jazz improvisation *is* a microcosm of life.Bill Kirchnerhttp://www.jazzsuite.comnoreply@blogger.comtag:blogger.com,1999:blog-1713397068832099475.post-26434009235495447652011-02-08T16:30:07.315-08:002011-02-08T16:30:07.315-08:00My teacher used to tell us to transcribe our own s...My teacher used to tell us to transcribe our own solos.Flute juicenoreply@blogger.comtag:blogger.com,1999:blog-1713397068832099475.post-50179587742681764922011-02-08T11:17:10.015-08:002011-02-08T11:17:10.015-08:00This is a great lesson George. I have taught this ...This is a great lesson George. I have taught this idea ( but not as well put as you did here) at Jazz camps. Very well put.<br />Joani TaylorJoani Taylorhttp://www.joanitaylor.comnoreply@blogger.com