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Discussion Starter #1
Can someone direct me to where I can get the back tracking for "Sugar" I tried the Jamey Aebersold play along but it has the incorrect melody on the track, It's difficult to play with a melody your not used to hearing with the song.
Thanks FR
 

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I agree with both of you. There's nothing really wrong with the Aebersold version (Vol 49 & 70). The written melody is correct (they just don't notate some of the turns for some reason) and the chords are right. Personally, I don't like any of the Aebersold organ play alongs and much prefer the Hal Leonard versions to the Aebersolds anyway.
 

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Discussion Starter #5
I guess I'm using the wrong terms. What I mean to say is the music to play along with on the disc by Aebersold is not the same as Turentines version. I belive that's called the back track.I just find it hard to follow along with. And yes the written melody is correct, I agree with that.
 

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I guess I'm using the wrong terms. What I mean to say is the music to play along with on the disc by Aebersold is not the same as Turentines version. I belive that's called the back track.I just find it hard to follow along with. And yes the written melody is correct, I agree with that.
Which volume are you using? I think they both use the same (correct) chords, but the organ one (Vol. 49) is just poorly done. The one in Vol. 70 ("Killer Joe") sounds better to me and uses the original intro as does the Hal Leonard version.
 

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IMO Aebersold play alongs are at best helpful but erratic in tempos and key signatures and beyond using them in the "woodshed" they do not give you much sense of what it is like to play with other musicians.

I swear by Hal Leonard Jazz play alongs because they are made with real musicians, have unique arrangements and are made to perform with (says so right on the front cover of each book).

Case in point is Sugar. I have both books and the HL version is almost note for note perfect.

JA may have come up with the concept but the Hal Leonard versions are a vast improvement.

B
 

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My Fav version of C6H12O6, is the Sanborn version. Someday, I'm gonna make a backtrack for it... And NO, Don't ask!
 

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IMO Aebersold play alongs are at best helpful but erratic in tempos and key signatures and beyond using them in the "woodshed" they do not give you much sense of what it is like to play with other musicians.

I swear by Hal Leonard Jazz play alongs because they are made with real musicians, have unique arrangements and are made to perform with (says so right on the front cover of each book).

Case in point is Sugar. I have both books and the HL version is almost note for note perfect.

JA may have come up with the concept but the Hal Leonard versions are a vast improvement.

B
I too prefer the Hal Leonard version (I just got the CD's that go along with the Real Book), but some are just too damned short. And if you're trying to learn a tune, sometimes you just want to have a bunch of choruses to blow on. Their version of "On the Sunny Side of the Street" for example is only 2 1/2 choruses long.
 

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there are at least 3 versions that I know of by Aebersond and I only find one called Groovitis-Sugar a bit strange to follow
 

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I too prefer the Hal Leonard version (I just got the CD's that go along with the Real Book), but some are just too damned short. And if you're trying to learn a tune, sometimes you just want to have a bunch of choruses to blow on. Their version of "On the Sunny Side of the Street" for example is only 2 1/2 choruses long.
I use Garage Band and Sony Acid Pro to extend and modify all the play alongs I use for my one-man restaurant gigs. Fairly easy to learn. :)

B
 

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I am reading this thread and laughing my butt off.

1. What does it matter if you play the chords with a live rhythm section, a guitar track, or band-in-the-box? It doesnt!
2. If you are practicing to be a JAZZ player, why would you want to play what is on CD/Record note for note.
3. Sugar is just a minor blues tune. What difference does it make what the blues progression is for the most part.
4. Why would you use a metronome with a playalong CD. You think JA is bad, you should hear some of the groups I have had to play with lately...lol Inconsistent tempo is a part of life. Live with it.

Sugar is a good simple tune that is abused, severely over played, and over analyzed. Just play it!

Phineas
 

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IMO Aebersold play alongs are at best helpful but erratic in tempos and key signatures and beyond using them in the "woodshed" they do not give you much sense of what it is like to play with other musicians.
I understand what you're saying about erratic tempos, but what do you mean by an erratic key signature? That doesn't make sense to me. The key signature simply indicates what key the tune is being played in. How does that get erratic??

I'm kind of with Phineas on this (except it's not really a 'standard' minor blues progression is it?). I would think the best way to learn the tune in the first place would be to put on the Turrentine recording and play along to that, the original tune. Then once you have the head learned, any backing track can be used to practice it, but ultimately you want to play it with a real live band.
 

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I'm kind of with Phineas on this (except it's not really a 'standard' minor blues progression is it?).
Ok, maybe I should have use the term common. Tune
like Blue Bossa, Stolen Monents, etc.... Are very similar sounding and can use a similar approach. That whole mi7b5 / Alt7/ mi7 thing is used in many tunes based off a base minor blues progression.


I would think the best way to learn the tune in the first place would be to put on the Turrentine recording and play along to that, the original tune. Then once you have the head learned, any backing track can be used to practice it, but ultimately you want to play it with a real live band.
:salute:

Listening is a lost art replaced by transcriptions and exercise books. The best players often have the largest CD/Record collection. I wonder why?....hmmm
 

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I understand what you're saying about erratic tempos, but what do you mean by an erratic key signature? That doesn't make sense to me. The key signature simply indicates what key the tune is being played in. How does that get erratic??

I'm kind of with Phineas on this (except it's not really a 'standard' minor blues progression is it?). I would think the best way to learn the tune in the first place would be to put on the Turrentine recording and play along to that, the original tune. Then once you have the head learned, any backing track can be used to practice it, but ultimately you want to play it with a real live band.
Thanks JL for pointing that out. I meant that I have noticed that Key Signatures on some of Jamies play alongs are different than the original recordings. Erratic would be too strong a word, and I will retract it. :)

As far as learning the old "wear the wax down" method of learning tunes, why not embrace new technology such as You Tube or play alongs. It is the same thing just quicker. This allows a player to learn more charts and be more competitive.

B
 

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That whole mi7b5 / Alt7/ mi7 thing is used in many tunes based off a base minor blues progression.
Yes, absolutely. I was just being nitpicking in case someone took it too literally. And of course there are a lot of 'blues' that don't fit the standard 12-bar structure. Some of the best blues depart from that and they are still the blues for sure.
 

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As far as learning the old "wear the wax down" method of learning tunes, why not embrace new technology such as You Tube or play alongs. It is the same thing just quicker. This allows a player to learn more charts and be more competitive.
Good point, and I wouldn't say not to embrace any technology that helps. I've used playalongs (I have a whole bookshelf full of them) and they are certainly of value. I also use a fake book sometimes when I'm having trouble figuring out a head arrangement from a recording. But these methods aren't necessarily the 'same thing just quicker.' At least for me, I find I don't really learn a tune until I go to the source (the recording) and work it out by ear. Actually, I've found the fastest way by far is to play the tune with a band. Only after playing a tune on a few gigs do I feel I really know it. But for sure there is more than one approach.
 
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