Hey everyone,
Here's another Bud Powell lick from his tune, "Bouncin' with Bud." I like this one because it's simple! I think it's super important when playing bebop to still construct melodies to ground the music, and Bud does that great.
This is a trio version of my dampening etude#7. I recorded it in 1969 with the band I had then, with Steve Khan, guitar, John Miller, bass and Marty Morel, drums. Steve just discovered the reel to reel tapes and got the name of an engineer from Randy Brecker, who digitalised it. I thought you all here would get a kick out of it because most of you have played etude #7 in my Dampening and Pedaling book.
Let's face it a lot of the time there's another comping instrument with us on stage.
So, how can we comp without interfere the soloist or the other harmonic instrument?
with textural comping!
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Here's a Wynton Kelly lick off of Hank Mobely's tune "Dig Dis." I explain how it works and how you can practice it, but the main idea is that Wynton Kelly is able to mix blues with upper structure triads and it still just sounds like blues!
Learning the vocabulary of jazz is one of my favorite -- and, I would argue, most rewarding -- things to do in the practice room. Just like human language, jazz vocabulary allows us to musically understand one another, know how to react to one another, and keep ourselves from saying something stupid. From Monk-ish quirks to the pentatonic idiosyncrasies of Coltrane, jazz history is, in many ways, synonymous with jazz language -- you can see the evolution of the music, the cultural influences, the “family tree” of players, etc.
1. make sure you're posted your version of yourself playing the melody and the chords. Otherwise if you can not play the tune: click here to pay the $25 entrance fee for tonights class. If you have recorded Chi Chi and posted it on the site then you are fine to attend for free. Leave your camera off if you have paid and are auditing the class.