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February 2013 TOTM - Lady Bird

22K views 198 replies 23 participants last post by  mrpeebee 
#1 ·
Hi all,

I've chosen "Lady Bird", written by Tadd Dameron, for February's tune.

Here's a great version by Dex :



The lead sheet is in the real book, and can also be found here :
http://www.wikifonia.org/node/122#/C/0/1

I found a couple of backing tracks .. both of them are at a more leisurely pace :


http://www.jamtracks.ru/mpjam/Jazz/Ladybird.mp3

It seems to be a fairly popular tune, hopefully it hasn't been "played out" for most !

I'm looking forward to everyone's takes ... so post away !! :mrgreen:
 
#2 ·
Brendan - feel like I say this every month, but this really is a terrific call! I'll share my enthusiasm by providing some reasons why:

It's a great tune with some really interesting harmonic wrinkles. Fun tune to blow over.

Tadd Dameron was a great and underrated composer. In addition, he was one of the early architechts of the bebop style along with Monk, Bird, Dizzy.

I'd consider it an essential tune for anyone learning standard jazz repetoire. Real staple for jam sessions and dates with pick-up groups.

Here's a later Dexter Gordon version where they use Half Nelson as a counter-melody. Al Cohn is on the other tenor with Sam Noto and Blue Mitchell on trumpets.
Lady Bird/Half Nelson

For something a little more laid back, love the arrangement on this one...Lady Bird going out, Half Nelson comin' home.
Lady Bird Billy Taylor with Warne Marsh and Lee Konitz

Tadd Dameron's classic 1948 version
Lady Bird Dmeron-Fats Navarro
 
#4 ·
#5 ·
Forget about that Vol 70 backing, thanks Nobby. So, for anyone using the JA tracks... Vol 36 Bebop & Beyond has a little brighter tempo... Vol 70 is more moderate tempo very in the pocket feel. Nice groove!
 
#9 ·
Awesome choice, Brendan! Was considering it myself a couple of months ago; I'm glad you picked it. Form not too long, but not without a twist or two, like measures 2 and 3 a ii V7 in F but then we get D major again for a couple of measures. (Tenor sax keys.) And then we head for Bb major. I guess it's worth remembering that Bb is the b6 that appears in the D Maj bebop scale, so it's not that out of place. Anyway somehow the lines seem to come out OK on this without too much analysis, though maybe more analysis will help me. Fun to play.

Sorry about dropping out of the latter half of the 500 thread... other non-musical and musical obligations (choral society Messiah, including my first public bass solo) intervened, plus I felt like I didn't really get together any major advances over my early take. I did spend a lot of useful time shedding over the minor ii V7 i and V7alt i that occur in it... and figuring out note choices over the other sections; I really enjoyed that pick, StrongD.

Incidentally, there's also an Aebersold vol. 99 "Tadd Dameron: Soultrane" that has a nice Ladybird, somewhat slower than vol. 36, but to my ear easier to play with than is vol. 70. Vol. 99 has Rufus Reid on bass, Andy LaVerne on piano, and John Riley on drums. I don't know the latter two but Reid is a top bass player. Vol. 36 worked pretty well for a more uptempo groove as Shawn points out. When I bought stuff from Aebersold on their own website, once I was about to pay the site offered me a bunch of other stuff at really big discounts (much lower than the prices visible on the site), so I ended up with a lot... that's how I ended up with 3 versions of Ladybird. Might be worth remembering if you're considering buying Aebersolds from some other source (JA's site is http://www.jazzbooks.com), though I don't know if they still do it.



Howard
 
#6 ·
Here's my baseline tenor saxophone attmpt using the mid-tempo vol. 70 backing. Just played through a couple times at the slow tempo and tried a couple with the more uptempo vol 36 backing, this was the first complete take...

Lady Bird
 
#10 ·
Nice one, Shawn! You're getting a very solid but flexible tone on tenor, with plenty of core, I like it. Good melodic flow and things get a bit more complex toward the end, also you used some really nice sequencing esp. toward the end. And I agree with Brendan, you sound relaxed but alert. I really enjoyed it.
 
#8 ·
Great tune. Here is one of my favourite versions by an early incarnation of the Jazz Messengers featuring Kenny Dorham and Hank Mobley:



Also here is the original version of Half Nelson - the bebop melody written over the chords to Lady Bird, albeit with an extra harmonic shift in the 7th and 8th measures. It's one of my favourite recordings since it features Charlie Parker on tenor which is always a joy to hear.



And finally, I thought I might as well post a clip I recorded of Half Nelson back in 2011. It's not a complete performance, just a few choruses practising with old Jamey Aebersold:

 
#11 ·
And finally, I thought I might as well post a clip I recorded of Half Nelson back in 2011. It's not a complete performance, just a few choruses practising with old Jamey Aebersold:
Thanks for posting those versions Liam - and you sound not half bad on Half Nelson ! :mrgreen:

Looking forward to your take Howard - I'm glad the tune is getting a good reception.
I was worried that my newb-ness would cause me to choose a tune that everyone was tired of.
 
#12 ·
Liam - Loved the clip, may have been brief but you said a lot in a short bit of time. Many smooth lines weaving through the harmonies there, played with a great time feel. Nice variety with the triplet lines mixed in there with the eighth note phrases. Classic bebop ii/V lines, dug your phrases over the turnaround at the end. Great playing!

Fwiw, as a warm-up take felt pretty good about my first go. A few places I didn't quite get where I was trying to go, and could have had a little more energy or excitement (ending caught me by surprise there). Think I was trying not to overplay and stay "in-control", probably helped with the more laid-back feel especially at this tempo.

Brendan wrote
I was worried that my newb-ness would cause me to choose a tune that everyone was tired of.
I'm thinking it will be a pretty active month, if you like bebop it's a really fun tune to play....and great share Liam on the Miles and Charlie Parker on tenor. That's one of my favorite Bird sessions, always say he reminds me a good bit of a young Sonny Rollins. Love Bird's tenor sound there!!! And love those early Jazz Messengers with Hank Mobley and KD!!!!

One more YT version for your listening pleasure, Chet Baker.
 
#16 ·
Here's My Take



A little "Notey" at times. I realized I couldn't have perfect run with this tune so there is a mistake somewhere around the middle.

I figured the solo was going pretty well. I didn't want to scrap it because of one flub.

Hope you enjoy it.
 
#17 ·
Wow that was played with "authority" from top to bottom .. and fantastic tone too.
Too bad about the mistake ... :mrgreen: :bluewink: (sarcasm - I couldn't hear it)
Very enjoyable !
 
#19 ·
Thanks,

The track was like six minutes long.... so I just said what I had to on my own time, went back to the head and then faded it out.

Cool tune. Lot's of ii-V's. I've been working a lot on playing those resolutions like Shawn was talking about in one of my other threads. Take the A train I think.
Anyway, It's been helping with my jazz playing.
 
#22 ·
Sean - you're getting some good sound there, was that the Jody Jazz? Anyhow really dug it, bit less bright than other times. Nice melody phrasing, you did your own thing in a few spots making it personal. Seems like you were running changes a bit at times (this tune can be a bit of an exercise with all those ii/V cycles), you do seem to be getting pretty comfortable with this one already. Little more space in a few spots to break things up might help. At around 1:31 you hit on a great motif coming out of the turnaround, was hoping you would really expound on that might get a whole chorus of ideas out of that simple idea...Later one some nice sequencing too and you worked in a little bluesy feel in a few spots as well. Nice take!

Interesting, when I first worked on this turnaround I tended to arpeggiate similar to Sean's approach there. That two-bar cycle (tri-tone subsitution) is one of those things you hear guys work into other tunes all the time, especially as a substitute for the common 3-6-2-5 turnaround. Sure is great tune to play for working on bebop style and phrasing. Not terribly complicated harmonically, but enough twists and turns to offer a good challenge. Not to mention if you know the head for Half Nelson and Lady Bird, it's like you learned two tunes!
 
#23 ·
Sean - you're getting some good sound there, was that the Jody Jazz? Anyhow really dug it, bit less bright than other times. Nice melody phrasing, you did your own thing in a few spots making it personal. Heard you running the changes a bit at times (this tune can be a bit of an exercise with all those ii/V cycles), you seem to be getting pretty comfortable with this one already. Little more space in a few spots to break things up might help. At around 1:31 you hit on a great motif coming out of the turnaround, was hoping you would really expound on that might get a whole chorus of ideas out of that simple idea...Later one some nice sequencing too and you worked in a little bluesy feel in a few spots as well. Nice take!

Interesting, when I first worked on this turnaround I tended to arpeggiate similar to Sean's approach there. That two-bar cycle (tri-tone subsitution) is one of those things you hear guys work into other tunes all the time, especially as a substitute for the common 3-6-2-5 turnaround. Sure is great tune to play for working on bebop style and phrasing. Not terribly complicated harmonically, but enough twists and turns to offer a good challenge. Not to mention if you know the head for Half Nelson and Lady Bird, it's like you learned two tunes!
Hey Shawn,

No. That was the Equinox. I've just been working with garage band a fair amount to figure out what I need to do to make the sound more natural.

Yeah, Hindsight being 20/20 of course there's stuff you would say "Oh, I should have done this or done more or less of that." But it is what it is.

I'm gonna do a more cooking version later on. Just wanted to get one into the books.
 
#24 ·
Like your sound on that Equinox...I know what you mean about getting one on the board. I failed pretty good at the uptempo one...feel wasn't there, scuffling too much to keep up...
 
#26 ·
Nobby - curious what device are you using? When I click on the link in windows it brings the tune right up... maybe I need to create a TOTM set to make things easier for those using some of the other devices like iPhone, iPad (if that's what the issue is...)
 
#28 ·
Davey,

That backing did not do you any justice. Gave the head a very square feel. Your head on the way out was much more relaxed and singing sounding.

Was that from Ralph Pratt? You should check out the others that have been posted.

First couple of choruses were a little stiff. When you started running the changes a little more your cool natural bright tone really started to sing and it worked.

I think you'd slay this tune given just a little more preparation.
 
#32 ·
Hi there! I love this tune and the Dexter version. It was also tune of the month in a German forum in Dec so I'm recycling it ;)
In the video Dexter plays Ladybird but then improvises over the Half Nelson changes. Since my playalong wouldn't do that I slightly changed the tune where the melody clashes with the changes...
Still struggling with the tempo, but who knows, one day...

 
#37 ·
Hey Davey,

New version sounds good. More like I would have thought you would sound like.

I personally like what you do with the tune but maybe there are some bebop purists who would shake there heads a little at all the altissimo. Oh, well. You're not playing for anyone but yourself.

Are you using the Chart for this from Wikifonia?

I only ask because I heard you play the mistake that is written into the head with that chart.

In bar 8 there is an F7 chord with two notes written in D and C# (no accidental) it should actually be a C natural. They forgot to put the accidental to dictate the natural.

The C# works technically with the key of the tune but not with the chord/ the fact that the tune is then in Bb.

I'm not trying to "harsh your vibe" I would hope you would speak up if there was anything you could think of to help me out with my performances.

All in all it didn't sound stiff. Much more relaxed and natural type of playing. But gotta watch that chart cause there are key center changes F, Bb and a little A in there too.

Thanks as always for posting.
 
#38 ·
Hey Davey,

New version sounds good. More like I would have thought you would sound like.

I personally like what you do with the tune but maybe there are some bebop purists who would shake there heads a little at all the altissimo. Oh, well. You're not playing for anyone but yourself.

Are you using the Chart for from Wikifonia?

I only ask because I heard you play the mistake that is written into the head with that chart.

In bar 8 there is an F7 chord with two notes written in D and C# (no accidental) it should actually be a C natural. They forgot to put the accidental to dictate the natural.

The C# works technically with the key of the tune but not with the chord/ the fact that the tune is then in Bb.

I'm not trying to "harsh your vibe" I would hope you would speak up if there was anything you could think of to help me out with my performances.

All in all it didn't sound stiff. Much more relaxed and natural type of playing. But gotta watch that chart cause there are key center changes F, Bb and a little A in there too.

Thanks as always for posting.
Using the new real,the C sharp is there,sounds fine to me,some mistakes sound bette:twisted:r.I'm very happy with it,its me in a nut shell.Purists my ar*e,you know me i play for me and i really try to sound like me.Theres millions of amazing Bebop players about but close your eyes and you could not pick who was playing.I like guys who have there own style,voice.Any tune i play will be me in the end.Some like,some dont but i like it,well most of the time.PS,i thought the chart was ok:twisted:
 
#42 ·
Nice takes so far....I've gotten to listen to a few and hope to listen to more.

littlewailer- Very nice! You have gotten noticeably better in the past few months. I hear you outlining the chords clearly and trying to play more 8th note based lines. Try incorporating more passing tones and alterations over the dominant chords to make the lines sound more like bop. Using the V7 bebop scale instead of the mixolydian scale over dominant chords might be a good place to start.

82zboy- Nice energy! Not really a "jazz" approach to the tune, but it certainly didn't lack enthusiasm. Wouldn't hurt to dig into some jazz harmony and rhythms to try to make your improvisation sound more "in the style".

Here's my take for the MOTM (Mouthpiece Of The Month).....this month is a Theo Wanne Gaia 7*. This is the first metal mouthpiece I've spent much time on in years and I'm loving it so far. Feels very Link-ish but has kind of a modern focus to it that makes it work in a lot of different musical situations.

http://soundclick.com/share.cfm?id=12149096
 
#45 ·
Thanks for the words.1 thing i aim for in my playing is to not sound like so many other players.They may play great but i avoid trying to sound like a bebop player.I love the hard bop stuff but its rather busy for me.You mentionn not really a "jazz" approach to the tune.Sounds jazzy to me enough for what i like.I'm more in the thinking of jazz as a thing where theres no rules but at times i hear there is.Not for me that method.In the end i just do what i do and thats a bit of a jazzy,funky,blues rock player.I will never be a great full on jazz player and really thats fine as i've not got that push and want it that bad.

Just checked out your version David.Very nice playing indeed,tone is good.Great modern feel.Some great lines in there.Enjoyed it alot.
 
#43 ·
Am I sensing some snobbery creeping into this thread ? I thought that was a classical thing ... :bluewink: :mrgreen:

Davey - fantastic second take ! Love the bends and screams.
David - I like that modern sound, you sound great on this one.

(My insightful comments will continue ..)
 
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