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Beginners and Intermediate Tune of the Month, June 2021 - Mood Indigo

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#1 · (Edited)
Welcome to the Beginner and Intermediate TOTM for June 2021! For this month I have chosen 'Mood Indigo', a classic from the Duke Ellington songbook.

The tune was written in 1930 by Ellington and his clarinetist in the early years of the Ellington orchestra, Barney Bigard. In his autobiography Bigard recalled that he was given part of the tune by his old teacher Lorenzo Tio. He worked on it further and then took what he had to a recording session where Ellington added the final touches. The tune became immediately popular, but Bigard was left rueing the fact that the sheet music was published under the names of Ellington and his manager, Irving Mills, a ruthless businessman and also a music publisher! He recalled "I missed the boat for twenty eight years on royalties. I didn't get a dime. It was all under Ellington and Mills' name. You see in those days - just to show how stupid we were - we would write a number and sell it to Mills for twenty five or fifty dollars. If we had kept the numbers with our names on we would have had royalties for years and years."

I have included C, Bb, and Eb charts, and also a link to a backing track I made with BIAB. There are also a few other backings available online.



Here are a few great versions, including the original Ellington recording when the tune was titled 'Dreamy Blues'. Also a later Ellington TV performance featuring Paul Gonsalves on tenor.





The tune was so popular that Irving Mills eventually wrote lyrics for it, though it is probably more likely to have been done by some anonymous writer in his employment! Here are versions from Frank and Ella


Ella Fitzgerald - Mood Indigo [1957]

I hope these versions inspire you all, and I am really looking forward to hearing what you can come up with this month!

Bill
 

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#4 ·
I have updated the index to include this thread here:


Again, can't wait to get started on this one!
 
#13 ·
Bill, very good. Nice development toward the end. I have no doubt, that if you'll spend more time on this tune, something like jam on it for an hour for 5 days, you'll come with something absolutely NICE.
Don't take it as advice if it looks too much/crazy... I just know that there are some tunes that I can spend a lot of time without realizing how long I play it and have fun.

Why I am saying that because I remember your different works here on TOTM and different results.
Best.
 
#8 ·
Very nice take Bill and a good pick. :)

This medium swing tempo works very well. You kept the playing and mood nice and relaxed, with a tasteful solo and good sound. If I could make one point of attention: you played many short phrases of 1 or 2 bars long. It would increase the overall swing feel (especially in the solo part) if you would play also some longer phrases, or start or stop them not exactly in the beginning or end of a bar, but let them flow over or into a next bar.
 
#9 ·
Hi Peter,

Thank you for those kind words and constructive comments - they are much appreciated.

I take your point entirely about extending my lines. I have received exactly the same comment from my online tutor! It seems that at this very early stage of ‘improvisational development’ my brain is working so hard just to think of the right notes to fit the chords that I find I am completely exhausted mentally after a bar or two, and then need to pause to collect my thoughts! Anyway, it is something that I am aware of and working hard to improve with further practice - along with all the other things I need to work on!

Bill
 
#10 ·
Fully understand that Bill. :)

A part of learning to improvise is - besides all the technical stuff - to not be afraid to play wrong notes (sometimes they work out well and if not, nobody got ever killed by playing a wrong note!) and also to trust your ear. That last point can be achieved by listening a lot to the song and get the chord sequence sound wise into your ears (so hear and feel were the important changes are).
 
#15 ·
That is very good advice Peter. I definitely suffer from Wrong Note Phobia, and I am sure that this is another contributing factor in my stop-start solos! I'll try to loosen up and start embracing the odd 'clunker' here and there in the interests of advancing my soloing abilities!

Bill
 
#12 ·
Peter, let me say one word... impressive. Killing vbrato at start (instantly noted). Then... simply crazy drive from the bottom of the player's gut. What else we need? :)
 
#20 ·
Just a note: if you are playing along with Duke, it's up a whole step from the key of the provided backing track. That is, it's in Bb concert (C for tenor/sop and G for alto/bari). I think the Sinatra version is in Ab maybe, but the Duke versions (including with Louis Armstrong) are in Bb. I might dig around for a backing track that has it in Duke's key.
 
#26 ·
Thanks. I've been working on it a bit and should have a take ready in a couple days. I appreciate you putting out the Bb version and chart, I did also find a couple Bb backings on YouTube.

It's a funny thing how the "normal" key seems to get decided. I checked out the version you posted by Duke where he calls it a "little different" and... it's in A. So he moved the key around sometimes too, though Bb seems to be more common. I'm not sure where Ab came from, maybe I need to check the original Okey records recording. I'll never understand which one becomes the "standard" tuning. The Real Book has several Jobim tunes moved by a half step or step, for example.
 
#27 ·
Hi Aquarian,

It has always been a mystery to me too. The first time I thought of it was when trying to play along with one of Getz’s iconic samba tunes. It was either Desafinado or Girl From Ipanema, I can’t recall which right now. Anyway all the fake books had it in a completely different key. The only possible explanations I could think of were that perhaps the original tune had been transposed by Getz to a key that he preferred, or that the producers of fake books want to produce a single version of the tune that will transpose into comfortable keys for each of their C, Bb, and Eb editions? But as the Getz recording was such a huge hit, and for most people the only version of the tune that they knew, it seemed odd for the fake book charts not to be in that same key.

Back to Mood Indigo, I am looking forward to hearing your Bb version!

Bill
 
#31 ·
Hey Jared,

I am very impressed with the progress you have been making in all aspects of your playing. On this recording you sounded really relaxed and produced some nice extended variations on the melody, without repeating yourself or running out of ideas. These are some of the things that I am battling with in my own playing, and know how much work it takes to make even small improvements, so I applaud the results you are getting!
I was also very impressed with your tone - warm, full, and even throughout the range of the horn. It suited this tune very well. Bravo!

Bill
 
#32 ·
Thanks very much Bill - too kind of you, I will be doing another take later this month after I spend some time learning the tune more. As to the improvements, The lessons have certainly helped me develop, I hope you get the same enjoyment! This was on my Yamaha alto and I'm in love with the sound and tone from the 10mfan Daddy-O on this horn
 
#34 ·
Small ball ... here we have a 10 or 12 y.o. girl playing the lead, and for me .... it's as good as it gets ... just a great version ...
so... we can close our TOTM? :)
 
#36 ·
Thanks Aquarian!

I Was hoping to have a chance to listen to more takes before posting - but its my turn to try to get the baby down for bed! So before I head off, here's what I laid down tonight - very rough take, but pushing towards my goal of making a very dynamic expressive take using a wider range of the horn - Also experimenting with different recording settings, let me know if the recording sounds better!

 
#37 ·
Thanks Aquarian!

I Was hoping to have a chance to listen to more takes before posting - but its my turn to try to get the baby down for bed! So before I head off, here's what I laid down tonight - very rough take, but pushing towards my goal of making a very dynamic expressive take using a wider range of the horn - Also experimenting with different recording settings, let me know if the recording sounds better!
Wow Jared!

You have managed a second take already. I don't know how you find the time. A fortnight after posting Take 1, I still haven't got around to recording Take 2 - and I haven't got a baby to look after! That is very impressive time management!

I listened to both takes and I can detect some variation in the record settings, but I can't say that I prefer one over the other. As for the performance on Take 2, one comment I would make is that I prefer the way you state the melody on Take 1. I enjoyed your embellishment of the melody line on both takes, my only gripe would be with the very second note, which I would prefer to hear held to its full length. In Take 1 you did this the first time through and then shortened it on the repeat, whereas in Take 2 you played the shortened note each time which I think detracts somewhat from the beauty of the melody. This small quibble aside, I really enjoyed the way you varied your performance and found new ways to explore the tune throughout your solo. I find that after the first chorus of a solo I just start repeating myself - so well done!

Bill
 
#42 · (Edited)
OMG Michael - that is absolutely gorgeous!

What a sound - it was like listening to Ben Webster on alto! I loved everything about it, especially the way you kept the melody front and centre, but still managed to tell your story. And what a story! Very sensual, full of beauty and happiness, but also in parts wistful and melancholy. In other words, all the feelings that this tune should inspire in us. A great version! Thank you so much for sharing it with us!

Bill
 
#48 ·
Yeah Bill, that's a big improvement for sure! :)

Played with a very relaxed attitude. The solo was really interesting with nice lines flowing over the scheme, not cut off in small building blocks like in take 1. Can clearly here the late grate Lester in your solo approach, you played some beautiful melodic lines which would have brought a smile on his face! Also nice how you went from the solo into the last 8 bars of the theme, in a free spirit and not afraid of exploring (improvising!) alternative solutions.

Only thing I could give some critic on is that your sound in the openings theme was a bit off in the higher register. In the bottom you sound loud and clear, the upper register was way softer and seemed to have been played on another distance (or angle) to the mic.

So overall good to hear that the work you did put in came out in this second take Bill, very well done. :)
 
#50 · (Edited)
Hi All. Just quickly flying over the forum, I noticed this June's tune, and remembered I did an overlaid version with 3 clarinets in the past.
A quick search: it was in 2012, on a pretty beaten old Selmer 9*, with a nice rich tone, but a tricky intonation.
Normally I try to behave like a gentleman: own a clarinet, and NOT playing it.
Joke aside, clarinet was the original horn I started on at 12, saxes came later. So 50 years later, I'm not really a beginner.
Anyway, you ain't gonna escape, here it goes.

Moody Dingo

"This guy really knows how to make the clarinet speak. And you know what it says ? Please, stop it, and put me back in the case".
Quote by Eddie Condon, don't remember about whom. Was it Mezz Mezzrow ?
 
#73 ·
Dex! So glad to have you contributing - just a lovely laid back arrangement and feel on that wonderful take! I love the sound of a good clarinet player - which i know is a challenge, and there are 3 superb sounds in there! Thanks so much for sharing!

This is more of a recording tester than a serious take (caviat !!). :eek:
My new (old) computer that I bought is too slow to run windows 10 .. and I can't get audacity to work properly .. grrr .. I need Jared the computer wiz !! :mad:
Anyway just a lot of blues licks and some altissimo attempts, none of which are in time or all that musical.

Mood Indignant :

Dialing in recording sounds without a computer could be tough! I'd be happy to help. No windows 10 though? I'd think it shouldn't be too difficult to find a windows 7 installer for Audacity. (Or even older if depending on the os! But - on to the more important part. Awesome playing Brendan! I love the flurries - very much making the attack of this song all your own! I can definitely tell there is a greater distance between you and the mic though, and its picking up a lot of room noise sadly. I still am loving your tone - and the altissimo on bari is a feat! My bari altissimo attempts have been failed (comes out way too high - gotta figure it out soon).


My take on this beautiful number.

Thanks for listening if you have time.

Best, Alex
Channelling some Hodges for the day Alex? Love the slow long scoops and bends. I actually attempted something similar but found it too hard intonation wise. Lovely playing and tone. Also this track is superb, love the light piano. You always have the best tracks Alex - and it doesn't hurt that you're playing is completely and utterly sublime! Thanks so much for this one - I am going to save this one for my daily listening playlist!

I hadn't played for a few years, and a few months ago I started to practice again .... and yikes ... can't plan in tune, can't play in time .... but I finally found some salvation when I found an unplayed Rico Royale 1.0 reed ... and I've given this month's tune a shot ....
Will - It seems to me that your sense of time was superb! You have such a great rhythmic variety and your phrases are delightful! Intonation after a long break can be a challenge, but I thought you wrangled it in rather nicely. Very glad to have you back playing and hope to see you contributing more!

I'm currently rendering my youtube video for my final take on this one, but I'll take this opportunity to ask for volunteers! It's nearing the end of the month now, so if anyone would like to host for July 2021 B&I TOTM, please send me a PM! And of course, a huge Thank you to Bill for hosting this amazing tune, and thank you all for submitting as we have had some great takes and input! Hopefully more will be on the way over the last few days of the month - Mine will be up shortly!
 
#51 · (Edited)
Hey Dexdex,

What a great version! I always enjoy it when special guests pay us a visit at the Beginners and Intermediate TOTM - no invitation required, and yes, we even welcome clarinets! I also started out on my musical journey playing the dreaded agony stick, but eventually transitioned to tenor sax and got rid of my clarinet, so I have nothing but the greatest admiration for anyone who can make it sound like you do! Thank you for dropping by and sharing ‘Moody Dingo‘ with us!

Many years ago I read Mezz Mezzrow’s biography ‘Really the Blues’. He told an amazing story of a very colourful life made up of equal parts crime and music. His descriptions of the drug world that surrounded the early jazz scene were very informative to say the least. And who knows, some parts of it may even have been true!

Bill
 
#54 ·
This is more of a recording tester than a serious take (caviat !!). :eek:
My new (old) computer that I bought is too slow to run windows 10 .. and I can't get audacity to work properly .. grrr .. I need Jared the computer wiz !! :mad:
Anyway just a lot of blues licks and some altissimo attempts, none of which are in time or all that musical.

Mood Indignant :

 
#55 ·
Brendan, you r back and it is already the plus. I can understand your frustration and concentration on comp probs - it's heavily reduce the result.
Check your "tester" track and identify not good points. Sure you did. Then try again to improve.
I don't provide the details because you r "big boy" and will come with a better stuff. As a little "what to drop" - packs of 16th for example...
 
#62 ·
Thanks Brendan and Bill. Very kind. Trying to capture this style of playing is a challenge and one I relish. I had to resort to my Ted Klum Amber Acoustimax to get anywhere near the ideal I was looking for. So easy to overcook the bends and vib. Took me more than one go I can assure you :) Thank you so much for taking a listen. Much appreciated as always. Alex
 
#66 ·
Women just can't resist Mood Indigo ..



Paul does a respectable job simulating playing and I like how Sidney doesn't "over emote" on the sax (like Forest did in the Charlie Parker movie).
 
#70 ·
Hey Brendan,

What a fantastic clip! I've never seen the movie, or even heard of it for that matter. As you say Paul does a pretty reasonable job, although the extensive use of cutaway audience shots - mostly of girls swooning, probably helped as well! And as for the music itself, I think it is a very sexy version played by whoever the actual band were!

Bill
 
#75 · (Edited)
I hadn't played for a few years, and a few months ago I started to practice again .... and yikes ... can't plan in tune, can't play in time .... but I finally found some salvation when I found an unplayed Rico Royale 1.0 reed ... and I've given this month's tune a shot ....
Hey DrWill,

Thanks for dropping by and taking the time to post your take. I enjoyed it a lot, a really relaxed approach and some very cool counter-melodies. I hope this has inspired you to get back into playing on a more regular basis because you sound like a really skilled and soulful player to me, and I'm hoping to hear more in the future!

Bill
 
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