What Record Are You Listening To Today?

(Scott Foll) #424

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:

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(Daniel Sussman) #426

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.

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(Pierre) #427

Thanks Daniel
to make me discover this musician

Here first time i see him with Mickael on doublebass !

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(Pierre) #428

Welcome in Pianogroove Daniel !

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(Scott Foll) #429

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.

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(Scott Foll) #430

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!

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(Tuomo) #431

Thanks Scott, I’m glad you like the tracks!

Stay tuned for more!

all the best,

-Tuomo

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(Anne Stead) #432

Wow. Snarky Puppy takes you to a different planet.

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(Guillaume Fauconnier) #433

Hey guys,

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.

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(Anne Stead) #434

Welcome Guillaume!

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.

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(Ariel Jupiter) #435

Great 70’s jazz record by the great McCoy Tyner :slight_smile:

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(Hayden Hill) #436

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.

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(Guillaume Fauconnier) #437

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.

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(Hayden Hill) #438

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!

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(Guillaume Fauconnier) #439

Thank you very much Hayden for this awesome answer, this helps me a lot. In this recording my first feeling was that they were improvising whenever they wanted to, so i felt a bit lost, also i have tons of work to do with hearing the harmony underneath the melody.
Again thank you !

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(Tuomo) #440

Hi guys,

@Hayden’s answer says it all.

Just wanted to add these here, as @Hayden mentioned how the Bill Evans Trio modernized jazz piano trio, I want to share my other 2 favorites from that specific Bill Evans Trio, with Scott LaFaro (bass) and Paul Motian (drums):

Explorations (which was Bill’s personal favorite form this era)

Waltz For Debby (Live At The Village Vanguard)

-Tuomo

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(Guillaume Fauconnier) #441

This album is soo beautiful and Waltz for Debby is one of my favorite standards ! :slight_smile:

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(Daniel Sussman) #442

Such a beautiful touch

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(Daniel Sussman) #443

An amazing solo by Cory Henry, indeed! I also liked the tenor sax/wah-wah trumpet exchange at about three minutes. Very Brecker Brothers.

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(Hayden Hill) #444

Here’s a cool duet/jam with Cory Henry & Nick Semrad at NAMM:

@scott1 - some nice organ work there by Cory Henry :star_struck:

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