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I'd like to learn the intro. Admittedly I did not pay much attention to it. Maybe we can all post our versions for fun. I'm going to see about making a backing track in BIAB.
BUT -- Inner Urge is an example of those tunes that are not rooted in Bebop progressions and it's funny hearing BIAB trying to make standard licks through some of these changes. Doesn't work for me Maybe it does for you. But some of it sounds truly vertical playing (Chord by chord without common tone melodies).
So I believe it least in this case, that the computer loses. Well I could be wrong if you think this solo matches some of the versions by Joe Henderson, etc. What I think it misses is that it can't connect common tones in the progression so it looks at each chord independently or as some ii-V progression. Thus, it complicates this tune which I think can be simplified by looking at those common tones and not necessarily the main chord tones. (I think the same of Beatrice BTW). Something I refer to as Horizontal Playing ala Miles Davis (melodies that cross bars).
I would be interested in debates on this issue.
It shows to me at least what the logic of BIAB is. I could actually pick up Bebop vocabulary from BIAB. I'm actually very curious at the contributor of the soloing logic to BIAB. The fact that it can even make realistic sounding Bebop solos better than many aspiring jazz players is amazing. It can't make a mistake, select a wrong note or have a timing/articulation error.
jazz wee .. beatrice by sam rivers? that's a great tune! have you heard the recording it's from (fusia swing song ... sam rivers, jaki byard, tony willams, ron carter!)
... Gb major on the piano is a very, very nice key because the black keys are always consonant! On double bass, Gb, it's probably a nightmare of a key! No open strings!
You chould have look back in this Topic; a couple of us submitted recordings of Beatrice.
Yeah no open strings, except when we did a Dameron turnaround, Gb Amaj7 Dmaj7 Gmaj7 - saved my bacon.
OK here's my first try of this tune. I messed up the head initially. There's also distracting comping from the guitar player and also the percussionist who's off in time. But this is a jam so I can't really clear them out.
Perhaps no one cares but here's another retry on Inner Urge. Getting more comfortable. However, I'm rushing and it's really irritating to hear. I'm disgusted with my myself. The next time I play this, I will be more attentive to the time.
One thing too. The original head requires 16th notes to be played (upward arpeggio) at 220bpm. Well that's pretty much impossible for me. Maybe you have to be Chick Corea to play it. I listened to Bill Charlap, and he's just ghosting the upward arpeggio (quintuplet 16ths). Just for comparison, the 16ths in Chopin 10/1 Etude is at 170bpm so this is much faster than that. Thus, as I've heard other people do, I've simplified.
Here's another couple of tunes. Same rushing issue.
Sometimes rushing can just happen when we play difficult music because we concentrating so hard on playing all the notes or changes that there is not enough brain left for proper concentration on the rhythm. Playing simply is good for groove I think.
Sometimes rushing can just happen when we play difficult music because we concentrating so hard on playing all the notes or changes that there is not enough brain left for proper concentration on the rhythm. Playing simply is good for groove I think.
Great Wooten video there! There's an iphone Time Trainer app that does something like that automatically.
True about difficulty being the reason. I'm not rushing on Whisper Not and I'm just rushing a tad at the beginning of Dolphin Dance and then I relax.
Inner Urge -- it takes so much attention to play the head at this time. If you miss a beat, the whole thing is screwed up. So it causes me to tense up. But definitely getting easier. I really like the tune though. Sounds like real jazz especially when played fast.
It's cool that you decided to play the head on some of the tunes. Very nice!
Thanks Knots. I want to do trio gigs so I've got to hone down the heads. I rely too much on the sax player.
Careful for what you wish for, JW. I love playing trio, but its pretty hard to make it sound good most of the time, and I know that I'm probably the most to blame, even though I like to complain about how the other two should know the tunes better. At least with a sax or other lead instrument it felt like I could contribute without taking too much responsibility.
That being said, I'd always prefer trio over quartet or quintet, pressure and all.
Recordings of my recent solo piano and piano/keyboard trio jazz standards.
Really enjoyed the Wooten video. It's enough for me, however, just to practice keeping time with one pulse per measure on the metronome. Going multiple measures would be hopeless.
Really enjoyed the Wooten video. It's enough for me, however, just to practice keeping time with one pulse per measure on the metronome. Going multiple measures would be hopeless.
I think the idea is to challenge yourself just a little bit. If the tempo is comfortable then notch the metronome down a couple of clicks, or find some rhythmic challenge in the existing tempo to overcome. This way you can force some improvement to happen. If you just do what is comfortable then it is not enough of a challenge.
I'll give it a go! But for challenges, today I had my Latin Jazz Ensemble class. First, we did Blue Monk, switching between 7/4 and cha cha in 4/4. Then we played Footprints, switching between 6/4 and a 3/2 Rhumba Clave.
... today I had my Latin Jazz Ensemble class. First, we did Blue Monk, switching between 7/4 and cha cha in 4/4. Then we played Footprints, switching between 6/4 and a 3/2 Rhumba Clave.
I'm curious as to how Blue Monk would sound that way. Was it musical? I love odd meter stuff, but certain tunes with certain melodic aspects shouldn't be used for Latin feel IMHO.
Recordings of my recent solo piano and piano/keyboard trio jazz standards.
Maybe it does for you. But some of it sounds truly vertical playing (Chord by chord without common tone melodies). 
