I’m not up on the programs listed, but I can say that CME’s Xkey Air Bluetooth Keyboard Controllers are great. I have both the 25 and 37 key versions, and they’re handy while sitting at a computer away from your piano. You can even pair them both at the same time for 62 keys if you’re so inclined. With Bluetooth there’s next to no lag, and they can be wired as well. Here’s a review if you’re interested. (Also, there are a number of videos available showing them in use.)
Stan Getz & The Oscar Peterson Trio - Pennies from Heaven
Another well-known Bossa Nova tune, going to try to work this one out by ear and transpose to sing along.
Heard this album this morning by Flura Plurim and I was blown away
She’s one of my favorites, and this is one of my favorite songs as well. Thanks for posting. I hadn’t thought of her for some time. I started listening to her in the early 70s when she was with Chick Corea’s Return to Forever. Here’s another one you might like. Also, you might check out Luciana Souza and Gretchen Parlato.
another such a great voice from Brazil Maria Bethania
By chance I came across the album John Coltrane with Johnny Hartman today. I’d never heard of Hartman before. What a voice. At any rate, the album is a classic and well worth a listen, both for solo pianists and accompanists. And McCoy Tyner is amazing here:
In addition to becoming a big fan of Snarky Puppy in recent months, I’ve grown particularly fond of the individual work of Bill Laurance, one of the collective’s founding members. Love the propulsion behind this piece. Great driving music.
to make me discover this musician
Here first time i see him with Mickael on doublebass !
Welcome in Pianogroove Daniel !
Snarky Puppy is made up of some really talented folks. (Originating out of UNT, University of North Texas in Denton, Texas. Check out the theory books by Dan Haerle, retired professor who most certainly was one of their teachers.) Cory Henry plays/played keyboards with them along side of Bill Laurence. At about 4:23, Cory Henry takes off and Laurence just shakes his head and walks off. Pretty funny.
I just started listening to Stories from Here and There, an April 5 release on Apple Music. It’s from Tuomo. I haven’t had a chance to listen all the way through yet, but I picked a couple to review. “Be Good or Be Gone” and “Solitude” are excellent. I figure the rest will be too. The only video I could find is a preview. Enjoy!
Thanks Scott, I’m glad you like the tracks!
Stay tuned for more!
all the best,
Wow. Snarky Puppy takes you to a different planet.
I personally started listening massively to Bill Evans’s Autumn Leaves Trio in the purpose of transcribing it afterward…some work to do…
And also this one;
Just finished the lesson on Misty (extended voicings) and really loving this sax sound.
Love the Bill Evans Autumn Leaves. I have a jazz book called late night jazz arranged by Brent Edstrom. He has a great arrangement of autumn leaves. Although it is not a transcription of the Bill Evans arrangement it is inspired by it. It’s a great starting block to get you going.
Great 70’s jazz record by the great McCoy Tyner
Red Garland - Your Red Wagon
Here’s a lively and bouncy 12 bar blues from Red Garland:
Such a great use of his distinctive block chord voicings.
does anybody have an idea where the piano solo starts i can’t really hear it…
I can hear when the piano is “answering”, counterpointing the solo of the bass but not the solo piano.
Good question Guillaume.
2:01 is where the piano solo starts, and 2:03 is the top of the form (C-7) - we can hear Bill’s melody outlines a rootless C-9 arpeggio shape which is a good indicator of the underlying harmony.
Also listen to the drummer at 2:03 - that accent/drum roll is another cue that they are back at the top of the form.
Try to hear the ‘quality’ of the chords and improvised melody:
2:03 - 2:06 sounds ‘uplifting’ and ‘happy’ which indicates major harmony (C-7 / F7 / Bbmaj7 / Ebmaj7)
and then 2:07 to 2:11 sounds a little ‘darker’ and more dissonant which indicates minor harmony (A-7b5 / D7alt / G-7 )
These 251 progressions in Bb Major and G Minor repeat throughout the form which makes Autumn Leaves a relatively simple tune to memorise.
Timestamps for the piano solo:
Bill improvises through the form 5 times and then brings in the head at 5:08
Here’s some approx. time stamps for when the form repeats:
~2:03 - piano solo at top of form
~2:40 - form starts again
~3:18 - form starts again
~3:52 - form starts again
~4:32 - form starts again
~5:08 - head and out
It can be a nice exercise to play along with left hand voicings underneath the recording.
Some Additional Notes…
Bill Evans’ recordings of this tune are interesting because his bass players take the first solo. ‘Portrait In Jazz’ was recorded with Scott LaFaro on bass. Also see the performance video below with Eddie Gomez on bass and again we see that the bass takes the first solo.
It’s also worth noting that Bill Evans brought a new approach to the jazz trio. He gave each member of his trio the creative freedom to express improvised ideas whenever they desired, at any point in the performance.
This was a contrast to the earlier bebop era where each musician ‘took turns’ to solo over the form. As an example, for Bill’s last solo through the form at 4:32, Scott LaFaro also expresses some improvised ideas and takes another short solo before the final head at 5:08.
In this sense, Bill Evans’ approach to the jazz trio was more of a ‘dance’ or ‘fluid conversation’ between the musicians as oppose to a ‘regimented order’ in which they take a solo. This is something to be aware of when listening to his trio performances.
Here’s the other recording with Eddie Gomez on bass:
Hope this helps!