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Hi 10
Cool. It seems like you and Simon are at round about the same stage with the tunes.

For Lesson 24 I would think of it this way. It has one or at most 2 key centres.
A section is F min 6, B section is its relative major Ab maj 6.

You can think of the turnaround at the end of B section as preparing you from Ab maj 6 back to F min 6.
The Db7 is Ab maj 6,9 with a cool minor or blues flavour.
The C7 is the dominant of the F min 6.

Good thanks 10.

Hanons Lesson 24 @ 138 bpm

Lesson 39: Beautiful composition from Dave over Coltrane's Giant Steps.

Singing: Sonny Clark and Wes Montgomery. I always laugh when I sing the Wes original Mr Walker as Tommy Flanagan sounds like Knotty.

Improv: Familiarisation with the A section tonality of Satin Doll, ii Vs which kinda don't resolve.

Hey All,

Hope you're all doing well.
On my end, quite busy with everything.
My new assignment is playing accompaniment for a Schumann piece on Dec 18th with my son on cello. These are getting harder and harder and I don't know how much longer I'll be able to keep it up. Seeing that he's making great progress 10 times faster than me. I'm really digging this classical stuff actually. It uses a lot of keyboard and very interesting root movements. Like it.

I kind of finished the first pass of an arrangement to touch of your lips. I was watching this clip with Bill & McPartland. I bought that long ago not knowing that all this stuff was available for free on NPR's site. This is totally mind blowing:
http://www.youtube.com/watch?v=2y9g0EQcZXI

Anyway, after I played my simple arrangement, DF showed me a couple of tricks. If "Dave don't mind", I wonder if I could share this little bit i recorded of him. That's Dave playing this fairly obscure tune on the spot. It's just crazy.

Anyways, I'm doing some walking bass lines on Here's that rainy day, which is turning out to be interesting and tricky. And a beautiful melody.

I'm working a little bit on speed too, right now with All the things you are.

I'm still working on my sight reading, which is going great also.

And I've started playing one of the greatest solos I've ever heard (I know I always say that!). Fats on the changes to out of nowhere:
http://www.youtube.com/watch?v=kdh5YkkfmGU
Fats is absolutely unbelievable on this track. It's hard to believe this is improvised, how good this is. Anyway, I started playing the first 1/2 chorus in my usual way, and the tempo is reasonable. But for an extra kick, I'm moving this one to random keys.

What else? A fair amount of playing. The usual regular jam sessions. Great swing last night. Awesome drummer, really neat.
Also did a fundraiser last week. This week, we're doing a thanksgiving special in a cool restaurant that features a lot of jazz. I'm looking at a few more trio / quartet jobs in the very near area, and another one at the IMF (same I did last year), the week before the son's recital. I get all this from folks that randomly call me. People I played with, or heard that I played with friends. Network type of stuff. It's all good. All this music is a real good break from the constant non-sense at work.

Chrismas party? Yeah I'm down.

>>Singing: Sonny Clark and Wes Montgomery. I always laugh when I sing the Wes original Mr Walker as Tommy Flanagan sounds like Knotty.
You saying Tommy copied my licks ? Show me ! That sounds interesting

ok, let's hear it

Hey Knots

If you record your son, please let me know. He's like a completely different person each time. If I remember correctly, he played Schumann last time, he was very good to tackle the Romantics at his age.

Thanks for sharing the amazing Bill Evans interview. A lot of it was too profound for me to understand but I find him very humble and disciplined to pre-plan his songs beforehand.

I've added Fats' Nostalgia to my singing list for after JOI. It was awesome and very Fats.

Dunno how you keep your web-site updated with all these gigs.

Let me know if you would like the Mr Walker track.
Tommy's solo starts at 2:51. When he started I thought "Who's playing? Knots or Tommy ?"
One of the many examples of a typical Knots construct is 3:21.
Short phrase, rest, medium phrase, longer phrase incorporating change of dynamics.

http://www.youtube.com/watch?v=yHpJPnjWMAM

Cus,
you're very kind to compare me to Flanagan. I actually find this solo really good.

There's the DF clip I talked about. I missed the beginning where he shows the "simple" version
http://www.box.com/s/y38edzd9t93gpln9liom

not bad, needs work

You are quite right. Interesting, I tend to do these without even think what key I'm in. But it's a good idea to think about it.

My problems are mostly in the B section. Ab maj it may be, but what all those Ab dominant and A dominant chords are doing there, I have no idea. I get the chromatic idea, it just trips my fingers up.

if I'm in Ab blues, then the Cb is the minor third, I get that.


true



?? [scratches head] - it's got a Cb. That is the chord that trips me up, I confuse it with the Ab13 in the first bar of the B section. But that Ab13 confuses me too, because it doesn't have a 13, just the 5th. The Ab13 further along has the 13.



I like that C7, only I play it with a D, which I prefer to two E's.

I like the tune, I don't think there's anything for it but more practice.

Knotty - you sound so busy. Glad your son is putting you to good use. All that music reading is paying off. (I should do some too)

That Fats solo is something else.

Good to hear your dulcet tones, Dave!

Custard, you're really going places! Satin Doll is so cool. Is there any chance of you meeting up with local jazzers?

.... so ... we googleplus and we each play something joiful? Drinks after performing?

Go see herbie and chick!
I hear they're done rehearsing, and it's gonna be HOT

u wanna g+ and show us what you can do? I'd like to hear some of that improvisation you been working on!

Well, I thought we could each play something. Hadn't really got as far as thinking what I might play.

?? [scratches head] - it's got a Cb.
[quote]


Hello 10
The Db 7 is 3 6 b7 9 one of those beautiful ambiguous rootless chords that will lend themselves to another key depending on context.
In blues it is common to hear the maj min chord.

Thanks for your nice words 10.
Unfortunately in Sydney there is no demand for swing/bebop/The American Songbook. There is only one famous jazz bar The Blue Note/The Basement which is vastly different to the famous Blue Note in NYC.
Here jazz is jazz fusion and Latin. You will be lucky to find a professional jazz player who knows My Funny Valentine.

Oh wow ! Thanks for sharing Knotty. It was so texturally rich. It definitely was the complex version. So many lush harmonies and so much movement.

Hey Dave
How were the Corea and Hancock power duo ?

All I'm gonna say is this:

Chick Corea is Divine Grace personified and transmitted from the keyboard.

That must be the L. Ron Hubbard factor.

It most certainly is.

Anyway between verbalising and analysing, I got a recording done today:

http://www.box.com/s/4ha52i94bxv9pr9opjyh

and improv F maj-D min:

http://www.box.com/s/0i43fv4ktcq63slgg3zs