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Vocal front line, first stanza: "Na-na, sa-ware-ee rubla, a ranga-ba-lu-bee, ga..." (x 4)

Nicely done!

Years ago, McCoy Tyner said something to the effect that there's a lot of space between intervals, in music. To the point: in this piece, there are essentially three (3) key centers on which different / divergent tonalities can be superimposed. The technique was explored by composers as diverse as Busoni, Debussy, and Messiaen. But, this knowledge hasn't necessarily been absorbed by developing musicians, in time present.

Ideal place and music in my heart. Thank you so much ^.^**

Tadd Dameron and Sonny Clark epitomize the sounds of the era. So-called "changes" aren't what they appear to be; entirely flexible, revised on the spot.

Can I purchase any recordings of your comprovisations somewhere?

Hearing this while I sit in my living room, and the birds are singing along outside. Thank you. Blessings sir.

You still got it, gramps 💪

Nice man!!

And, one other thing: if you're going to play "out", you need to understand where "in" is.

Brief compositions along these lines formed the basis of a great many recordings on Prestige. A rhythm section of reasonable technical skill can stretch out on these things.

Advice for Bay Area musicians, especially: tank the sheet music! Don't read your solos.

French piano, from Emmanuel Chabrier on, represents a distinct attitude towards music. It's about breath, orchestral color, and novel rhythmic schemes. Messiaen summarizes everything that went on before, and where it's headed.

James very nice. I am a pianist who is really into Ellington and Strayhorn tunes even obscure ones. I’ve never heard of “Pyramid.” What Ellington album is that on? Do you have a lead sheet or sheet music for it? If so where did you find it? I have gotten music for several of his lesser known compositions from the Smithsonian Archive and the Library of Congress. Thanks again for your presentation.

Sounds lovely!

Super cool playing man! Glad you posted this today!

Fantastic performance! I've been enjoying your videos. Thank you!

🔥

Source recording is Blue Note / BLP 4051 (1962).

The Sonny Clark turnaround --> Fm7/Bb7, Ebm7/Ab7, Dbm7/Gb7, Cm7/F7.

What an awesome rendition of this classic song. Greetings from Canada and all the best in 2024!

You are such a talented pianist and I am loving what you do!

ıts perfect

Hearing some Vince Guaraldi in this one!

Nice！

Such funky chords.

From Andrew's Mosaic Select sessions (MS-016). Currently out of print. th-cam.com/video/lcI9oaMeBe0/w-d-xo.html

This phrase makes a brief appearance in McCoy's trio recording on Impulse. Blazing tempo, without a bassist and drummer.

Jackie McLean. Unusual intervals. Central theme is centered in C minor.

A Wayne Shorter composition, from the Miles Davis album, "Water Babies". The theme is based on modal fragments. The rhythm is central -- a wide-open, pantonal form.

Con gracias a mis profesores -- Señores Albéniz, Granados, y Busoni, para siempre.

Initial chord is F minor, major seventh. Its movement is entirely chromatic. I can't think of a better way to confound the expectations of a large ensemble !

A directly related essay. jazztokyo.org/column/special/post-88203/

The etudes are among the composer's most highly evolved works. Two books, published by Durand et Fils, are landmarks in modern classical music.

Focusing on rebounds, the single hand roll took quite a while to develop. Sticks need to move at the same speed, which is easier said than done.

Sticks are by NOVA, weight 7A. A bit more density brings out the resonance. Cymbals are Diril, Istanbul, Tongxiang, Jinan Fansi, and Zildjian.

Messrs. Young, Shaw, Henderson, McBee, and Chambers, some 58 years after the session. A wide-open form; intuition is infinitely more accurate.

Notoriously difficult rhythms, especially at the bridge; to be sure, this interpretation is a bit jagged. However, Monk's great music stands the test of time. Closely related pieces are "Evidence", and "Just You, Just Me". I have a score for "Dinah", in authentic stride, which I will revisit shortly.

New subscriber great video enjoyed watching

Bravo! Bravo! Thanks for sharing.

Kikuchi Masabumi's formidable "Hollow Out", on a first take. The restatement of the central theme, at the conclusion, is very close to the mark. The great master has written an extremely complex line. The only relation to the F blues is the underlying tonal centers, which pass by, in an instant. The pantonal tendencies are a logical extension of Andrew Hill's research.

Transcription courtesy Mauricio Matel (Brazil).

The underlying chords -- three of them -- are just a starting point. There's a lot of space between the intervals. Rhythm, as a top-level domain.

Ponto De Cabôclo. 1956.

"What I do may lead you somewhere, but that shouldn't keep you from finding your own sound." ~McCoy Tyner

It's interesting to observe how music has been taught in the United States over the last 40 years. The developing musician is frequently led to believe that notes tend to be related to an underlying chord structure, as if vertical structures were the sole source of melody, and rhythm. The only thing I might advise is to be aware that you're also free to develop your own vertical structures, if you choose to do so.

James Armstrong The chromatic inventions in triplets, around 9:30, and the contrary motion around 12:50, are from Herr Doktor Busoni, whose image is at left.

A probing study in F minor -- wide open space; many harmonic possibilities. Note the recurring diminished, passing chords that are a characteristic of music from this period. Barry Harris specifically references diminished chords, as containers of an entire harmonic envelope. George Russell called them "auxiliary diminished blues", in his Lydian Chromatic Concept. With all due respect to the original copyright holders.