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I try to play what I hear in your head too, but it doesn't work for me.

haha

Are you going to post another A Flower is a Lovesome Thing? I'm curious about the first ending--my version cadences on a Dmaj, but I've not found anything on Youtube that doesn't cadence on Db.

Hey Scott,

As usual, you've got some great stuff going on. I have to say though I thought the beginning of Bemsha sounded really, really bad. I think it was mainly the drummer's fault, but it sounded as if you all were out of sync. The rest of the tune played out well (listen to the HH and you can see that it's not playing even quarters).

Everything else (except Dolphin which didn't even play) sounded pretty darn good.

One thing that bothered me about the demos was the dry sound of the instruments, and the lack of touch the keyboard apparently has.

I hope you're having fun with this trio. Mine is pretty frustrating at times.

Oh, and hello Redux, welcome to the one of the loooooongest threads on PW. You know you're obligated to read and memorize everything from the beginning post until the present before you're allowed to contribute, right? Some find it helpful to print everything out, take notes, and then take the practice test before the actual exam.

Good luck!

LOL. Right. We can all hear ALT scales melodically in our head. Fortunately, in the examples we're discussing here, half a bar, a bar of ALT and we can't be too imaginative. Probably only a triad would fit in that time frame. Whew...

Scott, on the Keyboard sound, I just got myself an ElectroVoice EV ZXA1 powered cab. Really sounds good for jazz piano. I can hear the compression in the sound in whatever you're using. Or if it's direct to the recorder then maybe it's the keyboard itself. Yes, agreeing with Scep that it's not the most exciting piano sound and of course it's the piano that dominates the sound in a trio.

Just realized that the Mehldau version of Solar has the same devices as KJ. In fact he does it more and I heard even moving up 2 half steps in sequence. And he does stay on the sub for a longer period.

So from what I'm gathering, this is like a more modern tritone sub version of the old 3-6-2-5 sub. Fresher sounding.

Nice Scott! You're really getting there . . . Minority and called love has some really smokin'parts!
The sound is much better, I agree; get thee to a studio!

Maybe, so many great tunes so little time. I don't usually play one for more than a week or 2, but that one is worth revisiting.

On an alt chord I like to use the ascending melodic minor a half-step above. C7alt = C# ascending melodic minor. As for licks, runs, arps, triads, it's the same as any other chord. It all depends where I've been and where I'm going.
Lately (maybe to much Solar), I've become a little obsessed with the ascending melodic minor; it's such an excellent utilitarian scale.
mMaj - m6/9:
m7(b5): AMM b3 above: Gm7(b5) play Bb AMM
7alt: AMM b2 above: C7alt play C# AMM
7(b5): AMM 5 above: F13(b5) play C AMM
Maj7(#5): AMM 6 above: AMaj7(#5) play F# AMM

Thanks everyone for your helpful feedback about our demo cuts. Yes, the sound quality is still suffering , but we're not too much into the studio thing right now I don't think. So this will have to do.

Jazzwee, I looked up the cabinet you suggested... a bit pricey for me right now! But something to consider for the future. I definitely agree that my keyboard is sub-par. I just have to make do. I like to think that it's good for my technique because I have to be more in control to get a good sound on the keyboard.

Scep, on Bemsha Swing I hear a little wavering in the high hat in the beginning, but overall it still seems alright to me . But my ear has probably gotten used to it. Anyone else care to comment on the time at the beginning of this? I still feel the pulse in there, although we were intentionally trying to space out alot there I think... guess we just need to work on it.

Scott, don't hold back on your gigs. I think you're sounding good as is. Sometimes we over analyze our playing and that's fine for this thread so we can improve. But for the audience, they will enjoy your playing. Even better if you find a gig with a real piano.

I was trying to avoid thinking in scales, because that's what I do when I get to ALT stuff. It's really hard for me to 'hear' when an alternate tonality comes in. Then I end up resorting to scalar lines, at least on these.

Ahh, but scales are just a collection of notes that combine to a sound/timbre. They can be turned into triads, arps, thirds, blues, or pancakes (my 3.5-year-old said I should write that; "everything can be pancakes Daddy!"

Don't get me wrong: overall you guys sound great. Maybe it was the way you uploaded the cuts with Bemsha first-- I was really taken aback because in comparison to most everything else you've posted the timing was off to the point that it made me wonder what was going on.

But like I said, I really like the concept of space, but an implied pulse really has to be exact in that mix. Maybe I'm also hyper sensitive to this because I'm trying to get my trio to do some of the same stuff, but with very little success.

Same here. So we decided to spend a full weekend working away at our feel/groove/swing.
Play half-hour, listen to the recording, play another session, etc.
One of the days I'm bringing in a coach (head of jazz ensemble at the royal academy), which I'm looking forward too, he's a drummer himself so rhythm is his thing. Which will put us all on our toes -not at least me.

Sounds fine. I like the drummer's loose feel and your nod to Monk somewhat. I wouldn't change a thing, keep doing what you're doing. You guys play well together. I like the bass player a little less, at least on this one, but it could be the recording. It's a deeper interpretation of the time and groove--not for everyone.

The DP is what it is--I don't find it overly sucking here. When you get the dough and if you feel like it, you can upgrade but I wouldn't lose any sleep over it.
The music and the player/players are more important then the gear.

Odd comment. Who in this thread said anything about not liking a deeper interpretation of time and groove?

Maybe a better description then *deeper* would be a looser, more explorative, or freer rendition of the Monk tune. In any case like what you guys are going after....

I'm a bit jealous. How is it that you have three guys that not only can get away on the weekend to do this type of things, but also want to? Are you all considering this trio a job, and therefore actually dedicating a portion of the work week to this? Nice nice nice!

And then this! How cool is that?!

I have a jam session again on Monday. What I usually do is make a secret agreement with the Bass and Drummer to come early so we can practice trio (before anybody else shows up). This is my only chance to practice. The bass player is my usual bass player so it's good.

But I can't get these guys just to practice. So I'm stuck with my machine backing track for most of my practice...

So Chris, I'm glad you have some committed people in your trio.