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This month TOTM host sax1st (Alex) is currently on a short holiday and asked me to start the thread for him. Here is the text he prepared:

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Firstly, I'd like to wish everyone a very successful and peaceful new year.

Secondly, I'd like to thank Peter (Mr Peebee) for allowing me to perform the task of selecting the TOTM for January 2018 and for his fabulous work at moderating and I'd also like to thank all of you guys for welcoming me to this TOTM forum and I look forward to posting as many takes as possible over the next year as and when time permits. Your kind and generous comments are truly inspiring to me. Thank you.

And thirdly, here is my choice for this month and it is 'Falling In Love With Love'.

A standard that is happy in 3/4 as it is in 4/4.

I've provided the links to a backing track I have which is 4/4 (off the JA DeFrancesco album), but there are numerous backing tracks on YouTube in 3/4 which I'm sure everyone can access should they wish.

I've also provided the sheet music in Bb and Eb in both 3/4 and 4/4.

It's a nice number to blow over with a few 2/5's to get those patterns sorted should you wish and you can also get down and more bluesy with it.

There are a heap of versions by various artists on YouTube if you need the inspiration.

https://app.box.com/s/lq1vc3pvdjp9fankdrseckt2baoru9sr backing track in 4/4

https://app.box.com/s/dltb3pz9sv4vkg5k1xqrbpxtnnt05tbh Eb 4/4 sheet music

https://app.box.com/s/z26oiivtse9twttj19fzo55av8wk7uzw Bb 4/4 sheet music

https://app.box.com/s/j62br2h4ufsqi88mnuhgso0ktgjrhjki Eb 3/4 sheet music

https://app.box.com/s/4ndtvees6t41sgflnyol0wuzxmtr3xtr Bb 3/4 sheet music

I hope you enjoy playing over this one and I look forward to listening to your takes.
 

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Discussion Starter · #2 ·

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Discussion Starter · #5 ·
Not much activity here sofar. :|

I did my once a month recording session this evening and recorded three quick and dirty takes (as usual without much preparation). Here are the first two, recorded on two different mouthpieces with a short backing from YouTube and both with a free interpretation of the melody. Both takes are mixed in exactly the same way (some compression and a little room reverb added).

This take is on my Otto Link metal Florida no USA 10* mouthpiece with a very old and soft Rico Royal 2 reed:

1. - 'Falling In Love With Love' (Florida no USA 10* - Rico Royal 2):
https://soundclick.com/share.cfm?id=13677700

The second take was done on a modern Otto Link HR New Vintage Slant Tone Edge 7* with a fresh and resistant La Voz medium reed:

2. - 'Falling In Love With Love' (New Vintage Slant Tone Edge 7* - La Voz medium):
https://soundclick.com/share.cfm?id=13677701

I prefer the more aggressive and bigger sound of clip 1 (played on my main mouthpiece).

Also did a take with the longer organ backing, which I will probably post later this month.
 

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@mrpeebee: I agree with you that the first take with the Florida 10* is my preferred, sound wise.
But both are nice takes.

This tune is not familiar to me but I gave it a try all the same.
I'm using a new computer here with a new version of GarageBand and am still trying to find my way around it.
https://app.box.com/s/mmczsjmraelvkikmdlp5bo4yoy8wybbv
 

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Discussion Starter · #7 ·
Thanks Nick. :)

Liked your take, good sound and a nice drive and energy in the improvisation. The backing sounded a bit soft and the sax less clear/clean and a bit more 'on a distance' compared to what I remember from your older recordings (not sure if that's the new GarageBand version or related to the reed, it seemed a bit too stiff).
 

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Thanks Peter.
The new version of GarageBand has me a bit lost.
I can’t find the settings I used to use so I just used a pre-set track for voice recordings instead.
I need to sit down and have a good look at this version and see if I can figure it out.
 

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Not happy with the way this one went (what else is new ? :mrgreen: ) ... a quick, one take live recording playing along with BIAB.

So .. not really jazz .. the 3/4 time and cheesy backing conspired to lock me into a rolling circus theme that I just couldn't break. :evil:

Falling in love with a trapeze artist

But maybe this is a good thing ... time to work on some shorter phrases that fit into a waltz. And some rhythmic patterns too.
Plus I lose my place easily (keep counting four :bluewink: )
 

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Not happy with the way this one went (what else is new ? :mrgreen: ) ... a quick, one take live recording playing along with BIAB.

So .. not really jazz .. the 3/4 time and cheesy backing conspired to lock me into a rolling circus theme that I just couldn't break. :evil:

Falling in love with a trapeze artist

But maybe this is a good thing ... time to work on some shorter phrases that fit into a waltz. And some rhythmic patterns too.
Plus I lose my place easily (keep counting four :bluewink: )
I thought you did well.
I struggle with 3/4 and constantly loose my place.
The baritone sounds nice and clear in this take.
Are you still playing the Drake piece?
 

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Discussion Starter · #11 ·
I also thought you did well Brendan. Loved the thriller at 2:30!

I also have issues counting in 3/4. I still don't even have an idea in what rhythm I recorded my takes, my ear always takes over after a few bars!
 

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@mrpeebee: I agree with you that the first take with the Florida 10* is my preferred, sound wise.
But both are nice takes.

This tune is not familiar to me but I gave it a try all the same.
I'm using a new computer here with a new version of GarageBand and am still trying to find my way around it.
https://app.box.com/s/mmczsjmraelvkikmdlp5bo4yoy8wybbv
Loved that one, Nick! What a great sound! That low end is so lush. And good improv as well.
 

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Not happy with the way this one went (what else is new ? :mrgreen: ) ... a quick, one take live recording playing along with BIAB.

So .. not really jazz .. the 3/4 time and cheesy backing conspired to lock me into a rolling circus theme that I just couldn't break. :evil:

Falling in love with a trapeze artist

But maybe this is a good thing ... time to work on some shorter phrases that fit into a waltz. And some rhythmic patterns too.
Plus I lose my place easily (keep counting four :bluewink: )
Man, I liked that one, too! But, to me, it had a 6/8 feel...either way it wasn't what I expected but thoroughly enjoyed.
 

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I still don't even have an idea in what rhythm I recorded my takes, my ear always takes over after a few bars!
Ha ! My ears, brain and fingers are not connected, and will only sync up randomly during any tune ... :cry: :bluewink:
Yours was in 3/4 ... (take one) and you cruised through it like it was nothing. Awesome ! :)

Are you still playing the Drake piece?
The good old Drake ... I'd like to try a Durga or maybe a Jet, but I'm too cheap.
I should probably know - but who is that in the new avatar ?
Your take was fantastic in 4/4 ... it's Nic Webster ! :mrgreen:

Man, I liked that one, too! But, to me, it had a 6/8 feel...either way it wasn't what I expected but thoroughly enjoyed.
Thanks - I wasn't going to post it, thinking it was a bit hokey - but it keeps the thread moving along at least ! :twisted: :mrgreen:
 

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The good old Drake ... I'd like to try a Durga or maybe a Jet, but I'm too cheap.
I should probably know - but who is that in the new avatar ?
Your take was fantastic in 4/4 ... it's Nic Webster ! :mrgreen:
If it ain’t broke don’t fix it, and that piece works for you I think.
Yeah the new Durgas do sound like they would be a great piece, I’ll get one as soon as it’s legal to sell a kidney over here.
The avatar is Mr Leo Parker with some photo effects added.
 

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G'day from New Zealand. Please let me apologize for not having contributed to the thread up until now. My time has been somewhat taken up with various projects since the beginning of the new year but I now have a day set aside for tidying up the loose ends one of which will be recording a take on FILW

I'm going to listen to all the tracks that you guys have recorded so far and lend what I can in terms of positive critique and to that end may I say thank you to those who have so far contributed and I do hope some of the other regulars have a look at putting something up before the end of the month.

Right, now to get down to some listening and note taking.....

Kind regards,

Alex
 

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So first up is MrPeebee.

As I was listening I made notes and the first note I made was...Yaw...(not yawn) but this is how I refer to the lip up sound when making the initial attack on a note...now I know that you've written somewhere (I think I've read it) that you like this approach to a note and I can understand why as it's something that so many players have done. However I think that it's an approach that works well if it's not overdone...I notice that on some of the other tracks you have on Soundclip (yes I went there and listened to some of your other tracks) you don't employ this method of note attack so much if at all. It's just a polite comment and please take it as such...it's your way of playing and if it suits you then that's just fine. I'm all for using any method that best expresses your inner ideas to the fullest. I have mine too.

Now I know you say you play by ear and that's fine too but it doesn't excuse the fact that you miss a lot of chances to add colour to your solos by using the chord tones that are available to you by sticking mainly to a diatonic approach...when in C play in C. All those lovely Dm G7 C's get washed over with a good helping of C (the G7 can be thought of as a flat 9 chord and gives you G Ab Bb B Db D E F G and the numerous patterns you can draw from these notes...it adds colour and harmonic relief if you will...)

try this pattern over Dm7 G7 in 8th notes Eb E G Gb F A Ab A E(1/4 note) D C B A G F E (Kenny Garrett favoured this pattern on Just Like Sonny off his solo album with Brain Blade) and no doubt other tracks...it's one of 1000's of possibilities to add colour to your solos. It doesn't mean that patterns are the be all and end all of improvisation....they are not...however they do anchor a solo sometimes and play a part of adding a kind of "hey look... I know where I am and what I'm playing over..." solos that contain nothing but patterns are as annoying to me as a solo with no point of reference (at least over standard changes)

Now I know you say you play by ear but that surely doesn't stop you from looking at the changes and maybe arpegiating them as you play through (maybe easier in 4/4) or maybe just playing the 9th or the 3rd or the 5th of each chord...it's cool where it can take you....I taught at the Massey Jazz Conservatory in Wellington for 5 years and had a lot of degree students pass through my studio...simple techniques can carry you a long way and really open your ears up.

In terms of the 3/4 tracks you were actually playing with the time nicely but repeating a lot of lines and as I say if you make small changes to your practice method and how you approach a new tune you may find new lines coming to you.

Your sound is a very strong part of your playing and I'm sure you know that and it's a shame when the phrasing and note choice don't live up to the quality of your sound.

If you have a Jamey Aebersold book around you will find the scale syllabus in the back of it....it's not the holy grail of improvisation but maybe think of it like a dictionary to explain what's going on with the changes that you're looking at either by ear or on the page...and use the page to help your ears anyway.....practicing the chord scales can be tedious to start with but once you understand them and use them in playing and see a E7b9 you'll know what sounds good over it and in turn let the listener know that you know what sounds good over it...so many ways of approaching these changes and so many points of view on how to do it...this isn't an exhaustive explanation as it would take way too long and would always just be my way of doing things and many others would disagree no doubt and suggest other ways.

At the end of the day I want to hear integrity in a solo.

When I first started playing I too played by ear...and it always frustrated the hell out of me that I didn't know where the cool notes were....and when I saw them written down I couldn't work out how some notes seemed to be wrong within the context of a chord but sounded right....(so if I saw a G7 chord and it wasn't marked as an altered chord and I saw Ab Db Eb within it I would be thinking how does that work...it seems wrong...that was in the days when I didn't know about altered chords and a lot of other things related to harmony)

With your sound and a more purposeful harmonic approach I think you would really be sounding great....

Please take my critique as it's intended for the purposes of hopefully trying to help. I've managed to help a number of players with their approach over the years and not least of all my own has benefited from it.

I look forward to hearing more from you Peter.
 

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Up next Mr Bb...

I think a lot of what I wrote on Mr Peebee's review could equally well help you too. Again the diatonic approach missing out on a lot of colour in the solo.....

However, like Peter you have a lovely sound...real old school and beautiful especially the vib finish to some of the notes.

There is a small issue with the tuning (and that's a whole other topic) on the E in the melody...it's quite sharp so you could look at mouthpiece placement (come off a fraction) or play looser on the upper notes or maybe it's your horn's key heights....anyone of them...process of elimination I guess.

Now something that stands out aside from the great sound is the swing 8th's or lack of them....it's what I call the rumpty bumpty feel....kind of disjointed phrases that don't have any swing 8th notes to bind them together....you play the melody very nicely and then it goes all kind of stiff in the solo...

Practicing swing 8ths is so important to any Jazz musician...they are the very essence of Jazz....

I have several drum apps that have nothing but drum tracks repeated playing over anything from slow to very fast swing.....plenty of opportunity to play swing 8th's over those. Or even just a metronome with the click on the off beat to assist.

What sort of things to play over these drum tracks?

Well just scales if you wish...maybe some scales from the Scale Syllabus...or just 5 notes....G A B C D up and down.....just to feel where the notes need to sit in order to swing...it's a question of perseverance and lots of practicing....it really does open up all sorts of new possibilities with your soloing.

Get the swing happening...connect the notes to the right scales ...use the colourful notes to add interest and insert a pattern that you like here and there....it's the start of a beautiful thing.

Looking forward to hearing more from you.
 
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