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Knotty, I agree that to play a tune really deeply requires intense attention. But I'm not sure that lately I've needed to "analyze" it. I'd just sit and play with it for awhile and see if I can look at it globally (horizontally) or chord by chord (vertically) or something in between. With all the difficult tunes I've worked on, the "transitions" between key centers is really the only real issue on some tunes. But on a standard ii-V-I, or modulating III-Vi-ii-V-I there really isn't much of a mystery.

I guess I'm just distinguishing between the instinctive approach vs. a theoretical approach on harmony. Sometimes, it's useful to understand the theory to know if the minor chord is a ii, a iii or a vi since the scale is different. Or if the major chord is a I, or a IV. But aside from that I have lately just relied on my ears. That's me.

For example, I actually sat down and played that Skylark progression to see if there's any mysteries in there for me and I didn't really find any that would reveal anything different if I relied on theory.

Maybe this is what's different. I've gotten to a point where just by looking at the progression, I know what it sounds like BEFORE I even play it.

Nothing changes here. It is agreed that no one can play something well unless you practice it for a long time. I'm just trying to understand what theory adds to it other than knowing what scale to play (which should be automatic by now). I look at the Skylark changes and I see - F, Bb , C , etc...But in mind the real problem has nothing to do with the theory but is in hearing a melody that will go over all these changes in a cohesive fashion, which of course is difficult to do.

Case in point of the theory is the Fmaj7 Fdim7 G-7 C7 that Wind was refering to.

Now I suppose I could have over analyzed this as well but realize that the idea of moving chords chromatically, in general is connected to tritone substitution. I could overthink this and say, well should the Fdim7 been an F#7Alt or whatever sub could be justified in theory? Or I can acknowledge that chromatic approaches in chords of various qualities are very common and I use them a lot in everything.

Often the difference in what is played from chord quality goes down to one note. So my mind just looks at it and says: I see that one note difference. Is it important for me right now or not?

Over this I realize that the bulk of solos out there just outline the harmony anyway. Chord by chord making the changes, playing the chord tones. It's when one deviates from this that I find that more thinking is required. But at least there's a baseline where one could always play to some predictable level.

I'm just curious about those that think differently from me. I used to be obsessed with theory and now play more with instinct and ears (which seems to be resulting in some improvement). I've been following the Kenny Werner approach of "There is No Wrong Note".

Wow David - Cedar Walton is one of my favourites - love his Maybeck Hall CD. Another great one gone!
And talking of Skylark, here is my version -
http://www.youtube.com/watch?v=WfLH2sfUDpY

Doug

jw,
remember that the initial question was about bill evans saying that in order to be able to play a tune without reading it, he had gone thriugh the process of analyzing the tunes harmonically.

thats a different topic than how to solo on a progression.

Well then, I misunderstood and it makes sense now. As you were...

Nice, loads of great ideas in there. If I had time I could get some good stuff from that.

Like.
You are hysterical.

real nice playing knotty

thanks stranger!

>>Well then, I misunderstood and it makes sense now. As you were...
That's probably because I ask questions that have no answers.
But I like to ask them anyway. Gets me thinking and keeps me busy

Marian McPartland has past away. R.I.P

A jazz piano hero.

Anyone still alive from the Harlem photo (a day in Harlem).

Beautiful playing BB. I really like that deep touch you've got there. I'm always puzzled how you can record both parts and somehow make it sound like it was recorded together.

Doug, I'll check out yours next. And will start to work on my own.

Mine will be the best !!
;-)

I studied with Marian McPartland years ago in NYC. She was a very nice person and a fabulous teacher. She had the otherworldly gift of pulling obscure gorgeous standards out of about nowhere and playing them in whatever key struck her fancy at the moment.

One of her stories was about the NPR Jazz Piano theme. A theme was needed for the show . She made it up on the spot and recorded it in one take - the classic NPR Jazz Piano theme that EVERYONE knows when they hear it.

Thanks Knotty. I guess the bass doesn't really change what it does that much in response to the piano when playing a bass line at least. As long as the time and changes are solid then I can play against it.

Sonny Rollins
Horace Silver

Wow that must have been amazing

Benny Golson

Anybody know Barry Harris?

Apparently, he has agreed to do a Master Class for me in LA (he's in NYC). I'm organizing it.

Jazzers and jazz students near Southern California could attend this.

Lots of Jazz education videos from him on Youtube. I don't have a date yet because he'll be timing it to a gig. Likely towards the end of the year. PM me or post here if interested.

Very cool JW. I would've loved to come.