Discussion in 'The Sound Hound Lounge' started by Lucidology, Apr 18, 2016.
Makes sense to me. Jim Hall was incredible. Bobby Broom is incredible.
Score one for the guitarists!
Willie Bobo had an infamous aversion to piano players and also preferred guitar in his bands.
Interesting. Nice listening specifically to what he doesn't like about pianists and likes about guitar players. Some great pointers on how to play with others.
Sonny Rollins is the man. Not because of this particular opinion, which is interesting, thanks for sharing. But, because he goes for it. He's really, genuinely improvising a lot of the time as opposed to running well-practiced licks. He drags the beat, he catches up, he rushes, he playes polyrhythmically and makes it all work. His ability to swing at tempo is pretty amazing. He chooses weird notes. I transcribed his All the Things solo from Sonny and Hawk and he'll play b3's and #11's over Major7 chords. NBD. Oh, those notes are "out"? Excuse my ramblings.
The Bridge is one of my all-time favorite albums...
And yes, Sonny is definitely the man!
Pretty standard stuff for jazz. The #11 implies Lydian, which is also a major scale. The b3 works well as a passing tone. You will also see #5 (also called b6) being used as part of a major bebop scale. The bebop minor scale uses both the b3 and the 3, so no surprise to see the b3 also being used over a major scale.
It seems most the time I play with a pianist, it all just sounds too busy for me. Too much plinky plinky fill etc. Distracting. With an organist no problem. I kinda like some space in the music I guess.
I feel like one of the greatest "lost opportunity" bands in jazz was when Sonny Rollins had Paul Bley, who of any pianist around at the time was probably best equipped to NOT impose himself on Sonny ... I wish they'd made many more recordings together. (But also interesting that there's some push/pull in the idea Rollins stresses of not wanting to be constrained in developing the flow of ideas coming out of himself, and the attitude a lot of jazz musicians took [and take] where they want the music to be interactive, and some stress the idea that being led away from where you intended to go is perfect. More than one way to be a titan of improvisation.)
That particular solo is anything but standard.
Thank you Sonny Rollins . . .
Oh no no I was not commenting on the solo. @carlosmucho brought up the use of #11 and b3s over major chords. I was responding to that by saying the use of those notes and also the #5 is a standard thing to do in jazz over a major chord.
As I understand it, Paul Desmond thought much the same way and usually played with a guitar (most notably Jim Hall and Ed Bickert) rather than a piano during his solo career.
I understood that he had an agreement with Dave Brubeck not to use piano when Desmond worked as a leader.
I had heard it the other way around, that he didn't want to work with a pianist after Brubeck but there is actually several recordings of him with piano from his solo career (including a young Herbie Hancock).