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I have now, and Shipp has gone down several steps in my estimation.
I completely get that some people don't like Jarrett and why should anyone care less who Shipp does or doesn't like? But I don't really understand why Jarrett seems to conjure up such strong dislike and why people (like Shipp) feel the world needs their worthless pseudo criticism.

Don't understand the question about Spotify. Are you asking whether you can import a you tube video into spotify? I don't think so.

Please ignore my question. It's was silly.


Other question.

Invitation. 1st ending, we have a whole tone descending 2-5-1.
So
C#- | F# | B-
B- | E7 | A-
A- | D7 | G-
and then, what chord comes next?


What about those last 4 measures.

Thanks!

Everyone's talking about Jarrett and noone's talking about Shipp.
This interview is pretty stupid if you ask me. It's straight up bitterness.

Knots, you need to find the TRUE changes to Invitation that shows all the actual extensions. You get the wrong impression with these because there are a lot of Min-Maj and #11 chords.

For example, that first A- is actually A-(maj7) and the G- is actually G-(maj7). When you use these it's just a fabulous sound on the piano. I play Invitation a lot.

I'll see if I can find something I wrote out on iRealB. The great source for the chords is the Colorado Book (great one for Dolphin Dance as well) since that is not readily available to all (unless you have the "unauthorized Real Books" on DVD), it is not easily reproducible.

I mailed you the lead sheet. But there's the chords:
C#m9 | F#13 F#7(b13, b9) | B-Maj9
Bm9 | E13 E7(b13, b9) | A-Maj9
Am9 | D13 D7(b13, b9) | G-Maj
Em11(b5) | A7alt or Eb9 (b5) | D7 (b9, b13) | G7 (b9, #9, #5) | --- back to the C-6/9

I usually play ..
Em7b5 / Eb13 / Dm7b5 / G7alt
but I don't know where these came from.
As far as the 'true' changes go, well who knows what was originally written. I am guessing that the Em7b5 is an alteration from Eb7.

I like Invitation in Jaco style...
http://www.youtube.com/watch?v=OV5n23qXNRM

Thanks for the reminder, Jaco was great! And his music and playing still is.

In contrast (Bill Evans/Eddie Gomez duo): http://www.youtube.com/watch?v=N9Zv4VyjVGY

Love that Bill Evans version. It always amazes me how much variety it is possible to get from 1 tune.

Thanks for the feedback.

I have that Bill Evans Gomez duet. I will tell you that I clearly hear Dorian chords on the descending 2-5s and no major 7s.
Probably possible to do either but it seems Evans picked the Dorian version rather than straight 2-5-1 minor.

Also, I've seen the E-7b5 in RB 5th edition, as well as colorado, while the 6th edition has Eb7b5.
Usually, 6th edition has better changes, but many people use the 5th.

In this case, I hear Eb in Bill / Gomez.

thoughts?

It's called Jazz, Kemosabe. "An it harm none, do what you will."
Sorry . . couldn't resist.

Word! I had to get the whole album . . . (and yesterday I bought the Cedar Walton/Ron Carter duo: Heart & Soul - - hmmm I'm blaming Rufus).

Well funny one, it doesn't matter what you say, I'll do what I want, and you know it.

Knotty, there's a couple of transcriptions of the BE Invitation solo on the web. That dorian or M7th stuff ... if you hear the major 7 as the thing that passes on tge way to a flat 7th then you've got nice choices - use M7 as a passing tone that just goes by w/out emphasis,or emphasize it (linger on it) before resolving it.. Or don't use it at all! ... as you've noticed w/BE.

Invitation is one of the tunes that accomodates a million different changes and subs. So another way to look at it is use ANY set of changes. The caveat being that everyone in the group agrees to the same set. Sometimes starting from the simplest possible set of chord changes leads to great subs and passing chords yoy wouldn't get if you startes with the so-called 'hip' changes, whatever those might be.

My approach is pretty much always the same, which is look at the original sheet music when possible, find the versions (like the BE one w/Eddie Gomez) that are acceped as THE influential recordings, and go from there. Some Invitations worth hearing are the BE, of course (and he messes w/the form), the Coltrane, the Joe Henderson (he's got a lot of recordings of it) and there are others.. A long time ago I used to hear Kenny Baron & Red Mitchell at Bradley's - they had their own way of playing it. Going to Bradley's to hear piano/bass duos was like going ro school. Because you could hear so many different versions of the same tune. Often as not, the versions that got played weren't(official or unofficial) fake book changes.

One more idea is the best players seem to agree on some set of changes to start and then those changes get modified and altered over time as the group gets deeper into how they're playing the tune. Adam Macowicz (great Polish pianist) played me his version a long time ago and he had all kinds of great substitutions and passing chords that no one uses.

Hope this helps ..

Mark,
Yes. That's very useful. So e-7b5 or eb7b5. Its all good then?

Knotty, It's 100% all good!

So I decided to call Night Dreamer (Shorter) for a gig tomorrow. I just gave it a try today. High risk. When I actually played it, I didn't realize how short the tune tune is and the changes going by monstrously fast. But I guess, I can ignore the extra chords. Love the sound of this, but maybe it isn't going to sound good playing it too slow..

Just for a double hit of McCoy Tyner I decided we're going to do a jam on F7sus (Passion Dance). I didn't work on the head so we'll just go hit the solo and give me a chance to get something creative out of a single chord. Will be fun.

Afro Blue (sort of)
https://app.box.com/s/ibqwa1f41ifzlquxydp0

Really just a jam...

Sounds really good JW, nice solo.

How's the gigging out there? I sent a guy from camp down your way to go see you at your usual gigging spot. Say hi for me if you see him. Now if only I could remember his name. All I know is he's in the car review business.

Nice solo, good lines.