Both were astonishingly adept improvisers, but they built their creations strictly on chords, Adderley as an acolyte of Charlie Parker with a gospel-infused toneColtrane as an almost spiritual explorer, searching for the right sound, the right note, mapping out his voyage on charts of chords, piling and inverting chords on top of chords, expanding each note of a chord to a new chord, not knowing which combinations might work and therefore trying them all.
And sometimes, when one is listening to what remains of "Jazz radio" here in the U.
You also hear his usage of the color tone of the major 7th[D-natural] in bar 7, and again, a C as he transits back to [A3] and D Dorian. It was and remains magical. You could play all the notes of a scale, which is to say any and all notes.
In bar 7, as the section concludes, he introduces the degree of the 13th or 6th, by placing some subtle emphasis on B-naturals.
Kind of Blue is a one-shot deal, so dreamily perfect you can hardly believe someone created it. So, no matter in what context Miles placed himself, nor who the great musicians were that surrounded him in any given moment, he sounded so alone, and yet, right with them all.
It can be easy to lose oneself in that, and then miss the modulation to Ebm7. Russell threw the compass out the window. As it was in the prior [B] section, his playing becomes a bit more linear again. Evans writes that, for "Flamenco Sketches," the improvisations on each scale can last "as long as the soloist wishes.
It can be a most sad state of affairs. But why do critics regard it as one of the best jazz albums ever made? When you listen to Miles Davis, you can tell that he has such a feeling for each note, for each phrase.
A decade later, he, too, was wondering what to do next. So Kind of Blue sounded different from the jazz that came before it. It is more important, in my view, to capture this first, than to be possibly frustrating yourself by attempting to become a Bebop master at the start. By the time he died, even Parker was running out of steam.
Everyone else has to do some transposing of register. What is it about Kind of Blue that makes it not just pleasant but important? Now contrast these conventional bop pieces with the most fully developed piece of "modal" jazz" on Kind of Blue, called "All Blues": This is why I believe that if, as in the case of "So What", you can learn these two simple Dorian modes and some very fundamental minor pentatonic ideas, you can, at the very least, be playing notes which always sound good so that you can then concentrate on just feeling as though you are in the flow of the time, the groove, of the music and can make your ideas sit within the music as a whole.
The sound of Miles Davis, especially in the context of his recordings with Gil Evans became the voice of an era. The problem was, Parker not only invented bebop, he perfected it. Again, it begins as a very pentatonic approach.
His new book is It opened up a whole new path of freedom to jazz musicians: Recorded on March 2nd,and with a line-up that included: His phrasing is always relaxed and, at times, played purposefully behind the beat. But, in this moment, I was struck, yet again, by its utter simplicity and its haunting and timeless beauty.
Parker and his trumpeter sidekick, Dizzy Gillespie—Bird and Diz, as they were called—had launched the jazz revolution of the s, known as bebop.
This distinction may seem slight, but its implications were enormous. As is our custom, we are hoping that everyone will find something to enjoy about this wonderful solo by a musician who looms as a figure far more grand than he probably could have imagined when he first picked-up the trumpet.
The clearest example of its novelty is a piece, composed without credit by Evans, called "Flamenco Sketches.
The Year Everything Changed. Laying down the chords—supplying the frontline horn players with the compass that kept their improvisations on the right path—was what modern jazz pianists did.
They came to the date, were handed music that allowed them unprecedented freedom to sing their "own song," as Russell put itand they lived up to the challenge, usually on the first take; they had a lot of their own song to sing.
It becomes a challenge to see how melodically inventive you are. Their concept was to take a standard blues or ballad and to improvise a whole new melody built on its chord changes. For instance, a C chord is C-E-G.Feb 02, · The Music of Miles Davis A Study and Analysis of Compositions and Solo Transcriptions5/5(2).
So What This tune is totally in the Dorian Mode. Solo and all starts over how to use the book and then start the analysis of the 1st 16 bars of the solo!!
I do not know how far we will get tonight. My expectation is just starting the solo work! Must do a significant amount of listening! Miles Davis”, starts end of March – let you. Miles Davis Solo Transcription of Oleo. By. Camden Hughes. 0. Share. Facebook. Twitter. Oleo is arguably the most common Rhythm Changes tune, and so studying Miles’ solo is very valuable.
YOU MUST LISTEN TO THE MILES SOLO when you learn it! it’s even more valuable to transcribe solos on your own! You will also want to do some. Jul 21, · Since some here found my analysis of Miles Davis's "Circle" useful, I am posting my analysis of "So What," excerpted from the same book, The Influence of Claude Debussy's and Maurice Ravel's Music on Jazz, as Seen in the Compositions of Bix Beiderbecke, Bill Evans and Miles Davis, by Ed Byrne (© Ed Byrne ).
Mar 07, · “So What” from Kind of Blue (Miles Davis, ) Kind of Blue. Best selling jazz album of all time; Considered one of the most influential jazz albums of all time (impacts jazz, rock & classical). May 24, · So I´ve been practicing Tune-Up by Miles Davis. Great tune, good II V I workout and there´s some really nice recordings out there Miles Davis, Grant Green, Chet Baker 5/5(5).Download