It’s crazy to me how you’ve gotten this far into the real book and essentially giving us piano lessons on every song. I seriously appreciate your dedication, your videos have definitely helped me improve as a jazz pianist!
Tadd Dameron also wrote the beautiful "On A Misty Night" and recorded a great album with John Coltrane. Thanks for the historical perspective on these tunes. Great work.
Thanks, Steve, I didn't know his album with John Coltrane. He has such a deep musical intelligence that everyone wanted to work with him. Similar to John Lewis.
@@rondrotoskeyboardimprov9453 The Coltrane album was called "Mating Call" th-cam.com/video/zEc5qDBohlc/w-d-xo.html. I meant to add that you are doing the jazz world a real service with this series. Please keep it up.
@@steveha2865 Thanks, Steve, these early Coltrane albums are wonderful and often overlooked. Thanks also for the support and kind words. I'm trying to pass along a way of looking at these tunes that seems to be gradually disappearing.
Hi Ron Playing Ladybird , the other thing that came to mind is that the turnaround is a substitution for: C Am Dm G7. Using b5 subs. Eb for Am. Ab for Dm. Db for G7 .
So very inspiring. Thanks for all these great videos. I really feel that I’m making progress using the ideas you are presenting. Talks are really interesting and motivating!
Hi Ron I always enjoy your sharing of the jazz historical context of these pieces ! Another piece from 1939 that makes use of the “bebop phrase”, or something similar, is, as I’m sure you know, Take The AcTrain ( yes, it is a minor 6th interval instead of a tritone,but close enough). Take The A Train is an extremely well known standard nowadays - likely one of the most instantly recognizable, for the general public, of early bebop inflected tunes - and I wonder if it was similarly popular in it’s day. If so - Maybe A Train helped establish the recognizability of the bebop phrase to the populace of it’s time (?) Just a thought… Anyways - Peace, Love and Jazz from a fellow jazz pianist and teacher ( and wannabe jazz cultural historian ! )
Hi Alan. Yes, you're absolutely correct about Take The A Train - I thought it was from 1941, not 1939! Ellington's In A Mellow Tone used the b5 in the very early 1940s, but it's more like a blues note in that tune. Ellington and Strayhorn certainly were a bigger influence on the beboppers than is generally spoken about. Max Roach told me that he actually played a gig with the Ellington band in his early days.
Thank you, Ron, for your encouragement on the creative journey. Lots of gems in this one:background on Tadd, inside memories of Billy, AND... your thoughts on the CreativeJourney =digging into and enjoying and using what you already have as the basis for anxiety-free growth. Wisdom, creative Guru, Wisdom. I NEEDED THAT!!!! Blessings, JazzBrother, Blessings. 🔥😎🔥
At 12:43 you see the light, that is the whole cool thing about the turnaround . The pedal G plays throughout while the underlying chords change the function of the continuing G note. You should mention that the G is the b5 of the Dbmaj7 . And it answers the b5 melody notes in measures 4 and 8
Hi Ron, thanks for the great lesson. In re: the E natural in bar 4, I've heard a number of recordings where they went to the F instead, following your idea that it might have been the original note.
Thanks Eric! It's interesting that players have recorded it with the F. I've never heard that, but it makes sense, right? Lady Bird is a nice hybrid of Swing and Bebop.
@@rondrotoskeyboardimprov9453 One detail I also learned from this lesson, Bebop is rhythm, rather than just fast notes over chord changes. I've never thought about it, but it makes total sense. I really dig your lessons, please keep them coming!
Ron, I'm really enjoying your Real Book tunes explanations and they're helping. I normally play solo piano, but now using rootless chord voicings with this song and others to learn to play in a trio setting. In a trio setting, can I add RH harmonic notes, such as the 3rd and 7th , and extensions below the melody, even though I'm using rootless voicings in the LH? I notice that many use a single melody line.
Yes, Rachel, this is a good idea! Use any chord tones you wish, not just the 3rds and 7ths. The exclusive use of 3rds and 7ths is waaaaaaay overemphasized in much jazz education these days. Have fun!
I haven't managed to find a version previous to the Real Book version with the b5 on bars 4 and 8. This makes me think that those b5 are mistakes (or at least choices) in the Real Book version.
Hi Carlos! Even though that's a logical train of thought, all the recordings I've heard have the b5. Have a listen and see what you find. Good luck with your music :)
Lesson is great full of fantastic ideas and the upper camera is so good
Thanks!
Thank you. It helps me a lot to study.
Good luck with your playing :)
Another fantastic mini-lesson - thank you for that. And for the stunning performance!
Thanks Dana - it's a great tune to play!
It’s crazy to me how you’ve gotten this far into the real book and essentially giving us piano lessons on every song. I seriously appreciate your dedication, your videos have definitely helped me improve as a jazz pianist!
Thanks Aiden - it's helping me too :)
Thanks for the lesson , always a pleasure to learn new things!
I'm glad you liked this, Rinu - I feel the same way about learning new things!
Tadd Dameron also wrote the beautiful "On A Misty Night" and recorded a great album with John Coltrane. Thanks for the historical perspective on these tunes. Great work.
Thanks, Steve, I didn't know his album with John Coltrane. He has such a deep musical intelligence that everyone wanted to work with him. Similar to John Lewis.
@@rondrotoskeyboardimprov9453 The Coltrane album was called "Mating Call" th-cam.com/video/zEc5qDBohlc/w-d-xo.html. I meant to add that you are doing the jazz world a real service with this series. Please keep it up.
@@steveha2865 Thanks, Steve, these early Coltrane albums are wonderful and often overlooked. Thanks also for the support and kind words. I'm trying to pass along a way of looking at these tunes that seems to be gradually disappearing.
I loved your bit on embellishing the melody in soloing , made think a lot! Another great video , many thanks Ron!
I'm glad this is expanding your perspective on improvising, John. Check out Lester Young's solo on All of Me in his recording with Teddy Wilson.
played with such a beautiful feel and springy tempo! loved it!
Thank you :)
Gonna dig this out now, might be a bit behond my dexterity.... but leaning curve.....great tutorial always makes me want play.. Thanks Ron..
Hi Ron
Playing Ladybird , the other thing that came to mind is that the turnaround is a substitution for: C Am Dm G7.
Using b5 subs. Eb for Am. Ab for Dm. Db for G7 .
Yes, exactly - they're tritone substitutions. Thanks for mentioning this!
So very inspiring. Thanks for all these great videos. I really feel that I’m making progress using the ideas you are presenting. Talks are really interesting and motivating!
Yep - that's the goal! Congrats on your musical progress :)
Wonderful lesson! this tune stumped for years!
Thanks Marc - mission accomplished! Have fun with it :)
Thank you, again
I'm glad you're enjoying these :)
So enjoyable watching you play!
Thanks Rachel - much appreciated!
Hi Ron
I always enjoy your sharing of the jazz historical context of these pieces !
Another piece from 1939 that makes use of the “bebop phrase”, or something similar, is, as I’m sure you know, Take The AcTrain ( yes, it is a minor 6th interval instead of a tritone,but close enough). Take The A Train is an extremely well known standard nowadays - likely one of the most instantly recognizable, for the general public, of early bebop inflected tunes - and I wonder if it was similarly popular in it’s day. If so - Maybe A Train helped establish the recognizability of the bebop phrase to the populace of it’s time (?)
Just a thought…
Anyways - Peace, Love and Jazz from a fellow jazz pianist and teacher ( and wannabe jazz cultural
historian ! )
Hi Alan. Yes, you're absolutely correct about Take The A Train - I thought it was from 1941, not 1939! Ellington's In A Mellow Tone used the b5 in the very early 1940s, but it's more like a blues note in that tune. Ellington and Strayhorn certainly were a bigger influence on the beboppers than is generally spoken about. Max Roach told me that he actually played a gig with the Ellington band in his early days.
Thank you, Ron, for your encouragement on the creative journey. Lots of gems in this one:background on Tadd, inside memories of Billy, AND... your thoughts on the CreativeJourney =digging into and enjoying and using what you already have as the basis for anxiety-free growth. Wisdom, creative Guru, Wisdom. I NEEDED THAT!!!! Blessings, JazzBrother, Blessings. 🔥😎🔥
Thank you so much, Brenda! We'll all in this together :)
At 12:43 you see the light, that is the whole cool thing about the turnaround .
The pedal G plays throughout while the underlying chords change the function of the continuing G note.
You should mention that the G is the b5 of the Dbmaj7 .
And it answers the b5 melody notes in measures 4 and 8
Good points, Thomas - thanks!
Thanx, Maestro 🌹🌹🌹
Great
Hi Ron, thanks for the great lesson. In re: the E natural in bar 4, I've heard a number of recordings where they went to the F instead, following your idea that it might have been the original note.
Thanks Eric! It's interesting that players have recorded it with the F. I've never heard that, but it makes sense, right? Lady Bird is a nice hybrid of Swing and Bebop.
@@rondrotoskeyboardimprov9453 One detail I also learned from this lesson, Bebop is rhythm, rather than just fast notes over chord changes. I've never thought about it, but it makes total sense. I really dig your lessons, please keep them coming!
@@ericmitchell9331 Yes, Exactly! Total rhythm. A very specific feeling of energy.
Ron, I'm really enjoying your Real Book tunes explanations and they're helping. I normally play solo piano, but now using rootless chord voicings with this song and others to learn to play in a trio setting. In a trio setting, can I add RH harmonic notes, such as the 3rd and 7th , and extensions below the melody, even though I'm using rootless voicings in the LH? I notice that many use a single melody line.
Yes, Rachel, this is a good idea! Use any chord tones you wish, not just the 3rds and 7ths. The exclusive use of 3rds and 7ths is waaaaaaay overemphasized in much jazz education these days. Have fun!
@@rondrotoskeyboardimprov9453 Thank you so very much! This is very helpful!
I haven't managed to find a version previous to the Real Book version with the b5 on bars 4 and 8. This makes me think that those b5 are mistakes (or at least choices) in the Real Book version.
Hi Carlos! Even though that's a logical train of thought, all the recordings I've heard have the b5. Have a listen and see what you find. Good luck with your music :)