Sax on the Web Forum banner

1 - 5 of 5 Posts

·
Registered
Joined
·
1,508 Posts
Discussion Starter · #1 ·
Hey guys,

I'm going through about 110GB of videos on Instrumental/Jazz sets from the last few months. I'd love to get some feedback on my playing here on "All Blues." Some comments, criticism, helpful suggestions to work on, etc.

We've been playing this tune a lot over these past few months, so I was trying to go in some different directions-- especially rhythmically.
https://youtu.be/WhNv22dVnBI (It's an unlisted video, FYI)


-Bubba-
 

·
Registered
Joined
·
1,508 Posts
Discussion Starter · #2 ·
For what it's worth I'm using a Jody Jazz DV 7, Select Jazz 3 Hard, and Mark VI...

-Bubba-
 

·
Registered
Joined
·
1,582 Posts
My commentary might come across as somewhat harsh. It's definitely not intended that way.

Good stuff:. Overall your tone quality is solid and you're playing at an appropriate level for the room. I don't notice any intonation issues.

First chorus, you didn't leave much space between the trombonist and you. Way too much on the drone pattern (A- Grace Eb into middle E - A - Low E. If memory serves you only varied from it once.

Second chorus. It's cool to quote some of Mr PC, but again way too much of a good thing. You're still doing that grace note Eb into E over and over again to the point that it's an affectation. It feels like you're using a long rest at the end of choruses to keep track of the song form.

Third chorus is basically one pattern across the entire chorus. Long notes. There's minimal motion, and you aren't really making the changes clearly and there aren't many of them to begin with.

Fourth chorus has motion and lots of it and it's contextually out of place. There's no build from the previous chorus. It really sounds like you're struggling to knock bars 9-12 out of the park harmonically.

Fifth chorus is raucous but once again falls back into the pattern of long notes with minimal motion. I didn't my know if that's wind down or what.

Song Form:
I7 | I7 | I7 | I7 |
IV7 | IV7 | I7 | I7 |
V7 | bVI7 V7 | I7 | I7 ||

In bar 9 on tenor the G# (3rd of E7) needs to be made painfully obvious. I also tend to use a b9 here which leads nicely to the bVI (F7) chord. You can also use a chromatic lick as well. (3-5-7-9) between the E7 F7 E7.

You're spending a lot of time on C natural against the A7 chord. Yeah, it works but it also means minimal differentiation vs what comes next, the D7. It's that conflict between C# and C natural in this key that makes it "blues".



Sent from my LGUS997 using Tapatalk
 

·
Registered
Joined
·
1,508 Posts
Discussion Starter · #4 ·
Thanks for the feedback John-- I appreciate you diving in there. I was getting worried that this was going to sit here in silence. Don't worry about sounding harsh.

Seems like some things may not have come off the way I heard them in the moment. In particular, I was trying to play with the rhythmic/beat displacement of 3/4 and 4/4, and hearing those different patterns/modes over top of different harmonies was part of that.

-Bubba-
 

·
Registered
Joined
·
1,582 Posts
When you try something different it isn't always a success. I know this from extensive real life experience ;-)

This is a great song for that. I've been using this to add in more Bebop elements to my playing.

One way that might help is to start with the A1 - E2 - A1 - E1 motive and buildfrom it. Maybe on the D7 it becomes A1 - C2 - A1 - F#1. Break out out in bar 7.

For me I really want to hit the V chord (E7) in bar 9. I mentioned flat 9 feels good, so does an A harmonic minor leading to the Eb of the F7 in the first half of bar 10.

Of course it's easy for me to say do X, Y and Z with time to think about it.

Sent from my LGUS997 using Tapatalk
 
1 - 5 of 5 Posts
Top