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as long as KJ himself wasn't there also

Knotty: I've listened to the Bill Evans one multiple times. I think I even used to own the CD. I keep dipping into that archive. I don't think however, NPR has the Mehldau one available unless my searching skills have deserted me. However, in addition to Spotify, I found this link which seems to have it: https://myspace.com/marianmcpartlan...land-s-piano-jazz-with-brad-mehldau-7760

He tells a great story of how, just prior to doing he show, he found out that on his parents' first date they went to see McPartland at the Hickory House.

Haha!

Jjo, I think I actually bought that meldhau duet. NPR seems to re-release interviews every now and then. But yeah, spotify is great. Do you subscribe or get the free version.

I subscribe,partially to get rid of the commercials, but also to support the musicians. There is some controversy over Spotify. While it's completely legal, some musicians complain they get next to nothing. Spotify responds that it pays the record companies a lot, and it can't help it if that doesn't trickle down to the musicians. My view is that I mostly listen on Spotify to stuff I wouldn't buy, so it's only helping the musicians, but I do want to support them, so I pay. For what I get, $9.99 per month is a bargain. For example, I recently explored in depth two great artists, Art Pepper and Woody Shaw. I don't know any other way to do this without something like Spotify.

Played trio tonight as I mentioned before. Although it's actually the first time I've played trio, I really didn't miss a beat and it felt just like any other gig. I don't know how the recordings sound yet but as usual, place was packed and the tips keep growing every month...

Here's one sample from tonight's gig. Singer dropped by and sang a few tunes. As you can tell she's quite a hit with the crowd.

Blue Bossa
https://app.box.com/s/c79on8hqv6m5g8b2ezfy

JW,

Hang on to that singer. She is quite good.
And very nice playing on your end. This is the best I've heard you play, I think. Solid feel and nice comping for her.

Let us hear some of the trio stuff if you have any.

++

Hi phellow phreaks, I'll be in Seattle next week from Wed - Sat, if anyone would like to connect I'll be bringing some matzah balls for your consumption..

Dave

good playing wee, who's the singer? the sound quality is a bit muffled though, could be the mic placement.

Thanks Knots and Wind. Unfortunately the mic is just capturing ambient since there is no easy way to place it in front.

I didn't like my lines particularly but time seems very solid now. Hopefully, my rushing days are behind me.

Did you hear the crowd in there? There's a group of regulars that fill up the place and it's always packed. Really fun gig. We made close to $200 in tips alone.

BTW this comment had me amused because it's the other way around. The singer is big time. Her husband is famous too. She has solo jazz gigs at all the world class joints in LA. I'm lucky she sits in with us. it's only because my regular singer IS HER FATHER.

Truly professional. Guides the band with body movements. I'm sure she's laughing at my meager piano chops since her husband is a classical pianist and composer (of soundtracks of many well known movies). So I'm lucky she tolerates us. Probably so I don't fire her father. LOL.

Fact is -- I can't afford her. But she is willing to do gigs with me in the future (she says).

Audience knows that she's better than her father (who's no slouch either). He's playing percussion on the track.

The singer above dropped by and did 3 songs with us. So here'e the 3rd one. Totally pro. My job was to make sure I don't take the focus away from her. I do take a solo here but not too much and I tried to keep my comping tasteful. I think the trio did a good job supporting her. And of course every tune is in some new key (this one a half step up).

Summertime
https://app.box.com/s/p8th6kik7ofwfbw16b0h

And for trio only (no singers) here's one. Nothing special. Tempo was a little too slow for me.

Footprints
https://app.box.com/s/nsdmbqhliyu95v5wqy8a

hey guys just a simple question about this chord progression. Key is F major

F maj7 / F diminished/ G-7 / C 7/

In theory terms what would the role of the 2nd chord be, the F diminished. I've seen this recently in a few different songs. The other chords are easy enough, but would the F dim be considered a passing chord, as it's not the V7 of G-7, but does sound like it resolves when you play it.

Wind,

You're on target hearing the F dim chord as a "passing" chord (in Fma7 - Fdim - Gmin7 - C7). You might try hearing the Gmin7 as a passing chord as well. The idea is the 1st and last chords (the beginning and the end or the starting place and the destination) are the essential ones.

If the middle 2 chords are "passing" you can build on that by substituting a million other chords instead The idea is keep what's essential and change the rest. Your ear and your taste (and how much experimenting you do) can decide what's "essential" and must remain and what's "the rest" and can be changed.

Another explanation is a drive through Barry Harris Land. Which means spelling from the bottom note to the top the progression is F A C D to F Ab Cb D to F G Bb D to E G Bb C. Or spell the 1st chord (bottom to top) as A C F G and continue with Ab Cb D F to G Bb D F to G Bb C E.

These 2 examples hold common tones between chords and moving ONLY the notes that aren't in common. The technique is called "voice leading." How, when, why, and where you use voice leading is according to taste, style, etc. Here's a quick VL guide - not the best or the worst but it covers basics.

http://www.tonalityguide.com/tkvoiceleading.php

Here are some examples with the chord progression you posted.

https://dl.dropboxusercontent.com/u/19895150/BasicVoice.png

There are many ways to explain all above. They come down to deciding what's and what isn't essentiall. Meaning keep what has to be there and change everything else as you wish.

Hope this helps -

Hey Mark
Thanks for your clear examples.
I especially liked:
(i) Ex 3 where you approached the G min 7 from a half step above.
(ii) the last Ex where you end on a C# min 7 with that nice unresolved quality. It sounds cool over a C6 chord.

CustardApple,

Thanks for your comments. I added a few more ties on that last example you commented on - to clarify what's held and what moves. And then I added one more example after that last example!

Hope that's helpful!

Beautiful Mark, I replayed all the examples.
The minimal, at times zero, movement for each given voice is very easy/appealing to the ear.

hi Mark, thanks for answering my question. your astute analysis was very helpful and your comments on this thread are insightful. I listen to alot of Keith Jarrett and he's the master at voice leading. He has a technique where he will play the melody and bass note and fill in the chord a split second later. it's just beautiful.

Physically it's something the fingers need practice with, I am so used to playing mainly melody and perhaps an extra note with right hand, and chords in left.

His left hand comping is understated but seems to always play the right note.

I've gone through some transcriptions of his and one of his favourite chords is the sus to dom7.

So, say Gsus4- G7, it will be G-C-F / G-B-F , just one note moving to complete the tritone of the dom7.

Here's an example of that melody and then chord a split second later, listen to the intro:

Also, it's a great example of using those 4 chords of yours: F maj7 / F diminished/ G-7 / C 7/ as an intro utilizing a C pedal.
Fmaj7/C, Fdim/C, G-7/C, C7