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Thanks guys
Yes Klink, JT is a big influence although I don't know that particular disc. I used to have lessons with JT many years ago.

The first track starts off in the same manner as your impro. Plucked strings, and octave pentatonics. It's a great disc.

Wha....? The functions of the chords in bar three to four are cadencial. The Ab has to be a resting point.

As for bar the B section, one and two it really goes from stable to unstable, acting like I to V variants.

I guess I should work up a recording sometime soon too...

Yea, I see what you mean. I should've thought about it more . In particular if the Ab is the goal in the first section, the A7 is certainly moving towards that and even the first chord seen as Ebsus sets up the Ab as the resting point. There's no doubt that there is a constant shifting between stable and unstable. I just don't really see it as being conventional, but rather more obscured by the unusual harmonic structures. It seems that the underlying modes can be more easily traced back to conventional tonic-dominant relationships.

jjo,

On yours, I would like to learn Peri's Scope and Four. I know them but never learned.

The ones on my list were provided by the vocalist. I couldn't play the head on these (just sight reading the changes). Fine and Mellow is just Billy Holiday Blues. No big deal.

Recordame (Joe Henderson) is a great tune. It's usually a favorite of horn players and I hear it often around town. Typically among the popular modern sounding tunes.

IMHO - My analsis earlier breaks it up into various V chords (functionally or tritone subs). So if I look at it as Eb Pedal, they really are functional. Taken with the bass pedal, the logic is pretty hard to grasp.

BTW - I did get a chance to show what I intended with Naima to my teacher and for the most part he thinks I did the right thing (voicings and scales). So hopefully I won't mess up the gig tomorrow.

Beeboss, that sounded great with the variations. I think I liked the last variation the best. Just sounded really fitting. I enjoyed the experimentation on the rhythmic side. Really fresh sounding.

I was doing my last practice of Naima before playing it on the gig tomorrow. This is making me nervous because I'm still getting lost with the last A in AABA. This is going to mess me up if I don't get this right. The changes go so slowly that I forget If I've done 2 or 3 A's.

I meant the improv. I was just curious what you played there.

Very nice, Chris. The further you get into the improv the more I like it, especially around the 5min mark.

However, I don't find the rhythymic accompaniment of the chair to be as polished as the rest of the performance. Perhaps you need to focus on using less polyrhythms in your lower body and set a more stable feel with those squeaks.

I like this, Scott. The drone/ostinato works well, and you really pull off the consistency, especially when you get the 'middle hands' going at the same time as the melody and bass at around the 40 second mark. This is something I always like to work on, so it's nice to hear someone else doing it so well.

I also like how you get around the different scales and modes, especially bar 3 and it's later equivalent.

Too bad you cut it off before the finish. Maybe another take with the coda next time?

Keep it up!

Nice as always, Beeboss. The interesting thing about your comment about the errors in the tune is that I'm pretty certain most people would not know which errors you may be referring to, and that they'd think of them as playing an alternate scale/chord at those points.

Also, the strummed string stuff reminds me of Jessica Williams. Are you familiar with her?

Thanks Sceptical, the error that jumps out at me is that I got one of the notes in the melody wrong each time. I was reading the melody from a mini real book without my glasses, that is my excuse. But there was one chord that sounded like it might be a misprint (last chord in b section) but as I was already playing it I couldn't check with a recording.

No I am not that familiar with Jessica Williams, but I just found her on youtube and was enjoying it
http://www.youtube.com/watch?v=MKL9PNH982A&feature=related

Thanks scep for your comments on my Naima. I just didn't finish because I'm really not that comfortable with it yet and I figured I'd just crash and burn if I kept going. It's a fun tune so I'll put it on my list and keep at it!

"Yoru wish is my command."
-Sheik Yerbouti

ps: i'll have to listen you other guys when i get back from the sticks. i'm out in the northern part of the stockholm archipelago celebrating midsummer (which is a big thing here).

Jazzwee, on the E7#11 I'm just using E half-whole dim. Sometimes I play E lydian-dominant or some blend of that and the half-whole scale. Not sure what I did on the recording.

Regarding the functioning of harmony in the A section, I wasn't sure about how you got this...



I see how thinking of the B7#11/Eb as Ebalt makes sense (B whole tone = Eb whole tone), but wouldn't that be V of Ab? I'm thinking that the B7#11 is one "form" of Eb dominant and the A7#11 is another "form", being that it's a tritone sub.

Jazzwee: If you get a chance to learn Peri's Scope, which is a fun, light, tune, my trio does a cool think Bill Evans does in his live Montreaux recording: you and the drummer trade 8s, then 4s, then 2s and then 1s. It's a wild ride (and not easy to keep track of where you are), but a lot of fun. Not sure I'd do it in public without a dry run, however.

Hey Scott. My thought was that B7#11/Eb when looked at as B7 doesn't relay its function.

But when looked at as a Eb7 with various alterations, then it makes sense for it to resolve to Ab.

A7#11/Eb - again when looked at as an A7, it doesn't relay it's function. But it's really another Eb dominant chord with just different alterations.

In my mind, from an analysis point of view, I was just thinking how an Eb chord is made to appear to have motion by having some of the inner voices move and that's what I perceive the intent here. It is of course a common technique in a lot of tunes to go from a minor chord (Eb-7 to Eb7) which feels like a passing chord. And it is also common to find a movement like Eb7 to Eb7Alt which also feels like another passing chord.

I recall a tune that has a lot of these passing chords being Along Came Betty (Benny Golson). So whenever I see the use of Alt, I immediately think if it's function is as a passing chord (suggesting inner voice motion).

Now, although, I've done some analysis of it a Eb chords and Bb chords (in this tune), I don't (so far) think of that when I'm playing it. I'm more conscious of it as individual chords without the bass pedal.

Perhaps Coltrane was aware of the dual effect of this, that there's one side that draws you in to just thinking of inner voice movement in Eb and Bb. But then one is free to avoid all that and think of seemingly unrelated chords with a more modal sounding effect.

It seems so brilliant how it was done.

HOWEVER -- it seems difficult for the same reason to come up with a melodic theme that's memorable. Everyone (including me when I practice this) is just playing over the changes. That kind of revelation may be more difficult to come by.

I follow what you're saying Jazzwee . You're articulating more clearly what I was trying to say about different "forms" of Eb7 when you talk about passing chords with inner voice motion. And I see what you mean about the dual effect of playing different chords over a pedal. This is definitely an interesting study of harmony in this tune.

so what's the setup for tonight JW ?