The first thing that hits you is just the speed and dexterity and then, when slowing it down, you realize the beauty in the harmonyof what he plays. KRAZY.
That was absolutely mind blowing.💥It’s the first time I’ve every really tuned in too just how amazing Charlie Parker was. Thank you soooo much, Great job.👏🏾💯👏🏾🎷💥🎷👌🏾
Jamie I hope the internet industry has an award for special people like you. I would nominate you for internet music influencer of the Year. Thank you and the team for the work that you do for us.👏🏾💯👏🏾🎷💥🎷👌🏾
I feel so well along with you and understand your excitement listen to those masters. There were more than two moments in time when I was shaking my head about alienlike players doing uneblieveable things like that, no matter what kind of music. Thanks for sharing this with us! I'm sixtythree and I play the alto sax for two years now by self teaching and I!'m just beginning to dig deeper in that wide field of jazz sax. I guess I will never reach that level but it is a great inspiration. So I will pick some phrases in time lap tempo note by note out of this to fill my toolbox. And of course I subscribed to your channel. (Sorry to all readers if my english is not quiet perfect! I'm german.) Cheers from Berlin
Part of your comment coincides with J.A.'s introduction of Charlie Parker as.being one of the greatest Jazz sax players. You mentioned you might never reach this level. Both of those remarks reduce Parker's legacy on some sort of technical ability, but concerning Bird's genius that's missing the mark by a mile. Parker didn't create Bebop single handedly, with his other hand tied behind his back, but he was a major contributor. The creation of solos like this one, composing them if you will, is the really outstanding thing, and few musicians will ever achieve that level of creativity. It's commendable for people to learn to play Bird's solos, for instance. But even if you play them "exactly" like Parker, you are still not even in the same universe Parker was in. Bebop is a music exactly describable in terms of musical analysis. But even if you brake it down to phrases and licks, Parker was probably one of the most spontaneous Jazz musicians, who's solos on the same theme are not even close to amounting to mere repetitions. On the other hand, unlike Cool Jazz, (mainly a specific sound within a style) or Hard Bob (basically a matured version of a style), Bebop itself is a distinctiv, own style of music. The new harmonic structures as compared to classic (New Orleans) Jazz and Swinges made it necessary, as in inevitable, to also "invent" a new pattern to the pulse or swing of the music. The beauty of the whole thing called Bebop is, that you have a mathematically precise structural corset and much more freedom than before. Parker was both a master in following the rules he helped to create and genius in exploring the freedom Bebop allows to the fullest. I think it was Phil Woods who in an interview about his own persona was asked how he evolved as a musician, how he experienced the changes that came after Parker (Coleman, Coltrane, Dolphy). His answers were very insightful, including one sentence in which he specified that Bird was more free than all of them. Hallelujah!
That lick at 11.35 is from New Orleans clarinet player Alphonse Picou. Its adapted from a flute/piccolo obligato line in a Sousa March (I think) and Picou used it in High Society (the piece not the film). Its used by Benny Goodman in his intro to Avalon among others.
That's awesome! I encountered it in. David Baker's How to Play Bebop volume 2. It's pattern number 10 in the major chords chapter but frustratingly he doesn't say where it comes from (he says they're" virtually public domain"). Now I know!
Close. The piccolo obbligato is from the march High Society itself, originally by Porter Steele. But this particular part was added by the orchestrator Robert Recker. More here: en.m.wikipedia.org/wiki/High_Society_(composition)
Absolutely love this commentary. Particularly grateful that I’m not alone on that triplet tonguing section. To me, the articulation of this solo at speed is the hardest bit. Many thanks for the great work.
The musical "Linguist" 🎼 is in the House 🏠 reminding us that Charlie Parker never died; he "liveth and reigneth supremely." I can listen to Jamie's stellar analyses 👌 Morning, Noon and Night - 24/7🌙; I know you can, too. Thanks, Professor.
Awesome! Thanks for going through this and breaking it down! I've always appreciated Charlie Parker, but this helps me understand much more of how his lines refer to the chords in such an amazing way!
The phrases at 17.55 are amazing. Bird was using this or something similar but simpler probably regularly, its in the slower earlier recording of Cherokee, which was his feature in the Jay McShann band. Its an adaptation of the melody from Tea For Two.
Calling this a reaction video under-sells it. You're not just going ooh and ah at the cool bits, you're presenting a masterclass. This isn't music that particularly resonates with me but you brought out all the interesting and educational points. For that triple tongue I'm hearing ha-da-da or ah-da-da.
I play sop in the Eb key to get Bird’s fingering but it makes transcribing a bit harder. I wrote all over my Omnibook. Loads of mistakes in Yardbird Suite as well.
The question cuts to the core of my isses with Jazz as it developed. Jazz was dance music. People used to DANCE to Jazz. Charlie Parker played to audiences that danced. Played to audiences that whooped and hollered. In it's essence it wasn't an intellectual thing to be pondered by people sat down stroking their chins taking it in behind sunglasses. It was genius harmony put to a beat and rhythmn that forced you to move. As Jazz developed and it's education became institutionalized it moved away from this and in many respects even began to push back against it.
There's nothing better than to hear someone speak eloquently and enthusiastically about their interest....Jamie does this in spades with an excellent analysis of the live Ko Ko recording. Ross Russell, in his book on Parker states that Parker had practised for an estimated 19,000 hours before reaching the age of 21...so it looks like that, indeed, genius really does rise from practice. Parker was beyond good, but Jamie, you're no slouch at the alto sax either!
OMG. I burst out laughing when you hit that airhorn and backed up with your hands in the air. Love your content! Been consuming it recently as I get more in sax. Thanks for the great stuff and for tonight's big laugh!!!
The lick at the start of chorus 2 is from The Clarinet solo on High Society, a very very early jazz piece. The lick happens at 2.16 th-cam.com/video/eKfj18FOhy8/w-d-xo.html
New Orleans guitarist Snooks Eaglin played the Alphonse Picou lick on his recorded version of “High Society,” which may be the only solo guitar rendition.
The tonguing you refer to at 7.00" is called legato tonguing which I you already know. I'm not 100% where he picked it up from but I would guess at Jimmy Dorsey at the prime source. Dorsey was just as fast as Parker at tonguing and the method from his book on a triple like that was to use the phrase Dah - Gha - Dah. Modern players say Ta -Ka -Ta which I don't think is as good. You have to have a good reed that responds but it is possible to match him. The lick you refer to at 12.00" is from the New Orleans standard High Society and is the clarinet Part. The 'Genius Part you refer to at 18.00" is actually a quote that I talk about in my video 'HTPB 16 Are Patterns good or bad'. Good look at Parker and you have a great Alto Sax sound. Only disagreement - Parker was the greatest Alto Sax player (and still is).🐦
I don’t know what I like more, you teaching us or just seeing how much you enjoy this! You mention Patrick Bartley a few times, will he be a guest for the inner circle? If not, he really should 🙏🏽🔥
For the tonguing articulation, maybe instead of like the usual tonguing technique. Touching the end of the reed and mouthpiece it’s like your flicking up and down on the reed. I think the first and normal way slows us down and for this type of tonguing it needs to be quick. That’s my 2 cents 😂 I think it seems to work though.
@@GetYourSaxTogether Thanks; I appreciate that you even replied. That sent me to 208 of your videos, several of which I haven't seen yet and am anxious to check out. BUT, I couldn't find out what kind of ligature you are using on your most recent video. The "My Full Sax Setup" video says you use a Vandoren MO ligature on your alto, but that's not what you're using now, and the "Details of All My Gear" video only mentions your tenor ligature. What is the new. alto sax ligature that looks like a Jody Jazz Power Ring but doesn't have the JJ logo? Thanks.
I forgot about that airhorn in the middle of the original recording lol. Idk how Charlie Parker did it, but I know Beatbox sax has a great video on triple tonguing.
Amazing stuff Jamie, I can’t even hear that fast😂😂 ( I do have the Omni book somewhere either gathering dust or propping up a wonky table) 🥴 But you’ve inspired me to try a couple of Charlie’s licks.
My dear friend, You should habe analized the solo of the Carrnegie Hall Concert 1947 which is after my opinion much more radical. He almost blows his horn into pieces.
Hey Jamie! I think I might have figured out the fast triplet tonging that Bird does in this solo. It sounds to me like he’s using the first overtone of low Db sandwiched between two open fingering Dbs. This way, he can get away with playing fast triplets on the same note without having to re-articulate. I think the use of this technique is most explicit in this recording of “The Bird” at 1 minute and 4 seconds in: th-cam.com/video/KYQCwoas3rk/w-d-xo.html. Hope this helped!
The maddening thing about Bird is if you evaluate everything up tempo he did at half speed, it seems human and doable, but at the tempo he does the tunes at, your left wondering, what the hell did he have to do to be able to pull this off? 🎷🥳👨🏻
“You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.” ------- Charlie Parker
@@GetYourSaxTogether yeah I pretty much know that already. My whole problem has always been That saxophone is just one of my many hobbies in life, and the responsibility of life has always gotten in the way of me time abd dedicating myself to saxophone, so I can play, but in my case, it’s really all a matter of lack of practice, and not having to play out anymore, that’s where most of my inability comes from. And of course, old age and health issues are now taking over to some degree!😩 🎷🥳😉👨🏻
So much good stuff there yeah but in order to fully appreciate it one has to listen at 1/10 of the speed! I guess that part of bebop is what put a lot of people off jazz. And after that came cool jazz, something people could actually relate to more easily. By the way, what about that Charlie Parker Cherokee recording before the war, that was like proto-bebop, wasn't it? Drat that recording ban!!
Emanuele, yes it's the speed that puts me off - it often degrades into merely vomiting notes. Speed on any instrument impresses me intellectually but does nothing for me emotionally unless it is used judiciously (e.g. Gary Moore's guitar solo on Out In The Fields with Phil Lynott). Hearing Jamie play these lines slower takes the music up a notch for me.
@@unclemick-synths Yep! Who are the TARGET audiences of the JAZZMAN? What are the BEHAVIORAL OBJECTIVES of the JAZZMAN as he is called upon to create and to recreate, ad infinitum? By what is the ("organic") ARTIST (of any discipline) motivated? For what? Nonetheless, point's noted.
It’s not speed for speed’s sake. It’s part of the bop idiom. And it places demands on the listener. You’re asking Bird to slow down? That’s his form of musical expression. Just as JSB’s fugues demand concentration on the part of the listener to hear both voices. “You can’t always get what you want.”
Parker’s speed ruins so much of the beauty of his lines and phrasing for me because no one can hear that fast. Slow him down to 75% and it’s so much more pleasing to listen to.
But YOUR playing it slower then makes us appreciate Bird’s intuitive genius that much more. However, one MUST listen to it at the speed it was played to grasp the true musical genius of the performance. It’s no longer truly “Ko Ko” played at half speed.
![KRK - ชนิสรา Ft.WanMai , N/A [Official MV] Prod. By Sakarin](http://i.ytimg.com/vi/C-WMwwYobcU/mqdefault.jpg)
Get your free pdf transcription here▶️ www.getyoursaxtogether.com/koko
🙏🌈
The first thing that hits you is just the speed and dexterity and then, when slowing it down, you realize the beauty in the harmonyof what he plays. KRAZY.
👍🏻
@@GetYourSaxTogether oh boy?!😮
That was absolutely mind blowing.💥It’s the first time I’ve every really tuned in too just how amazing Charlie Parker was. Thank you soooo much, Great job.👏🏾💯👏🏾🎷💥🎷👌🏾
Glad you enjoyed it
Jamie I hope the internet industry has an award for special people like you. I would nominate you for internet music influencer of the Year. Thank you and the team for the work that you do for us.👏🏾💯👏🏾🎷💥🎷👌🏾
@@hadenpolius1507 very kind. Thank you!
I feel so well along with you and understand your excitement listen to those masters. There were more than two moments in time when I was shaking my head about alienlike players doing uneblieveable things like that, no matter what kind of music. Thanks for sharing this with us!
I'm sixtythree and I play the alto sax for two years now by self teaching and I!'m just beginning to dig deeper in that wide field of jazz sax. I guess I will never reach that level but it is a great inspiration. So I will pick some phrases in time lap tempo note by note out of this to fill my toolbox.
And of course I subscribed to your channel.
(Sorry to all readers if my english is not quiet perfect! I'm german.)
Cheers from Berlin
That’s fantastic! Thanks for commenting!
Part of your comment coincides with J.A.'s introduction of Charlie Parker as.being one of the greatest Jazz sax players. You mentioned you might never reach this level. Both of those remarks reduce Parker's legacy on some sort of technical ability, but concerning Bird's genius that's missing the mark by a mile. Parker didn't create Bebop single handedly, with his other hand tied behind his back, but he was a major contributor. The creation of solos like this one, composing them if you will, is the really outstanding thing, and few musicians will ever achieve that level of creativity. It's commendable for people to learn to play Bird's solos, for instance. But even if you play them "exactly" like Parker, you are still not even in the same universe Parker was in. Bebop is a music exactly describable in terms of musical analysis. But even if you brake it down to phrases and licks, Parker was probably one of the most spontaneous Jazz musicians, who's solos on the same theme are not even close to amounting to mere repetitions. On the other hand, unlike Cool Jazz, (mainly a specific sound within a style) or Hard Bob (basically a matured version of a style), Bebop itself is a distinctiv, own style of music. The new harmonic structures as compared to classic (New Orleans) Jazz and Swinges made it necessary, as in inevitable, to also "invent" a new pattern to the pulse or swing of the music. The beauty of the whole thing called Bebop is, that you have a mathematically precise structural corset and much more freedom than before. Parker was both a master in following the rules he helped to create and genius in exploring the freedom Bebop allows to the fullest. I think it was Phil Woods who in an interview about his own persona was asked how he evolved as a musician, how he experienced the changes that came after Parker (Coleman, Coltrane, Dolphy). His answers were very insightful, including one sentence in which he specified that Bird was more free than all of them. Hallelujah!
@@Max-do7me great comment.
The famous Parker lick in ms. 65 is from the march “High Society”.👍😉
Thanks 🙏🏻
That lick at 11.35 is from New Orleans clarinet player Alphonse Picou. Its adapted from a flute/piccolo obligato line in a Sousa March (I think) and Picou used it in High Society (the piece not the film).
Its used by Benny Goodman in his intro to Avalon among others.
Brilliant. I knew I could count on you! Thanks 🙏🏻
That's awesome! I encountered it in. David Baker's How to Play Bebop volume 2. It's pattern number 10 in the major chords chapter but frustratingly he doesn't say where it comes from (he says they're" virtually public domain"). Now I know!
Close. The piccolo obbligato is from the march High Society itself, originally by Porter Steele. But this particular part was added by the orchestrator Robert Recker. More here: en.m.wikipedia.org/wiki/High_Society_(composition)
@@travlak Brilliant!thanks. Porter Steele, I'd forgotten about him.
Love these solo breakdowns. Keep 'em coming!
Thanks! Will do!
That lickyou wanted to identify is from "High Society", the clarinet solo by Alfonse Picou, from around 1900.
Thanks!
Absolutely love this commentary. Particularly grateful that I’m not alone on that triplet tonguing section. To me, the articulation of this solo at speed is the hardest bit. Many thanks for the great work.
It was a pleasure!
Your perplexity and amazement really made me smile!!!
The musical "Linguist" 🎼 is in the House 🏠 reminding us that Charlie Parker never died; he "liveth and reigneth supremely."
I can listen to Jamie's stellar analyses 👌 Morning, Noon and Night - 24/7🌙; I know you can, too.
Thanks, Professor.
Thanks! 🙏🏻
Great job. What a master Mr. Bird really was. Too bad the world was not ready for him. There will never be another.
True Henry!
Thanks Jamie for this analysis of the grat genius Charlie Parker
You’re welcome!
Awesome! Thanks for going through this and breaking it down! I've always appreciated Charlie Parker, but this helps me understand much more of how his lines refer to the chords in such an amazing way!
You're very welcome!
The phrases at 17.55 are amazing. Bird was using this or something similar but simpler probably regularly, its in the slower earlier recording of Cherokee, which was his feature in the Jay McShann band. Its an adaptation of the melody from Tea For Two.
Oh man, of course it’s Tea For Two!! 🤦🏻♂️
More Bird please Jamie! This is absolutely fantastic! thank you so much for for doing this
Will do!
Wow! Looking forward to getting the detailed breakdown of Charlie Parker's KoKo improv on the Inner Circle - thanks Jamie.
It's right there now Neil!
Super happy I clicked on this video. Excellent content!
Glad you enjoyed it!
Calling this a reaction video under-sells it. You're not just going ooh and ah at the cool bits, you're presenting a masterclass. This isn't music that particularly resonates with me but you brought out all the interesting and educational points.
For that triple tongue I'm hearing ha-da-da or ah-da-da.
🙏🏻
Yes!!! Time to revisit this. Thanks Jamie I wondered why you wanted the score when you were on holiday 👍👍
Ha! I should say though, and I’m sure I did, it turns out there are many mistakes in that omnibook version. But yeh, that was a spoiler! 😂
I play sop in the Eb key to get Bird’s fingering but it makes transcribing a bit harder. I wrote all over my Omnibook. Loads of mistakes in Yardbird Suite as well.
WHY are this beautiful harmonies played SO quickly you can't hear this beauty anymore ???????
🙏
The question cuts to the core of my isses with Jazz as it developed. Jazz was dance music. People used to DANCE to Jazz. Charlie Parker played to audiences that danced. Played to audiences that whooped and hollered. In it's essence it wasn't an intellectual thing to be pondered by people sat down stroking their chins taking it in behind sunglasses. It was genius harmony put to a beat and rhythmn that forced you to move. As Jazz developed and it's education became institutionalized it moved away from this and in many respects even began to push back against it.
There's nothing better than to hear someone speak eloquently and enthusiastically about their interest....Jamie does this in spades with an excellent analysis of the live Ko Ko recording. Ross Russell, in his book on Parker states that Parker had practised for an estimated 19,000 hours before reaching the age of 21...so it looks like that, indeed, genius really does rise from practice. Parker was beyond good, but Jamie, you're no slouch at the alto sax either!
Thanks 🙏🏻
OMG. I burst out laughing when you hit that airhorn and backed up with your hands in the air. Love your content! Been consuming it recently as I get more in sax. Thanks for the great stuff and for tonight's big laugh!!!
Thanks!
The best way to enjoy Sunday morning coffee, once on YT and again with my backstage Innie pass :-)
The backstage pass video is now live! Who are you in the ICM? I don’t recognise Squash? 🤣
Brilliant transcription and analysis. Great job as usual.
Thank you kindly!
Great video ! Thanks Jamie !
My pleasure!
Bro Thanks for sharing your knowledge and charisma, I don't see a question on your list how to play I will always love you
I haven't done a specific video on it yet, but you'll find the chart for it in this PDF. Hope that helps.
Fantastic show, Mr Anderson. Really love Bird music. Thank you so much!
Glad you enjoyed it 😊
What a brilliant musical mind was Bird. And incredible car tappet like precise fingers! How did he time those palm keys so perfectly?
Right??!! 😀
Great video, really interesting.
May I ask what mouthpiece and ligature you're using?
Cheers
th-cam.com/video/ZdK7VdadkkE/w-d-xo.html
yep, jazz is the supreme of all music 🎶.
😎
I think that Db triplet is done by lifting the left hand fingers off and on alternately.
Sorry, somebody already said that!!! You can hear it quite clearly if you slow it down to half speed.
👍
Fantastic - forget the Omnibook...we need a JAMIEbook w/ all your on point transcriptions 😆
Ha ha - maybe one day lol
The lick at the start of chorus 2 is from The Clarinet solo on High Society, a very very early jazz piece. The lick happens at 2.16 th-cam.com/video/eKfj18FOhy8/w-d-xo.html
Thanks for the info.
New Orleans guitarist Snooks Eaglin played the Alphonse Picou lick on his recorded version of “High Society,” which may be the only solo guitar rendition.
What an education! Thank you!
Glad it was helpful!
Wowza!
😎
😊
The tonguing you refer to at 7.00" is called legato tonguing which I you already know. I'm not 100% where he picked it up from but I would guess at Jimmy Dorsey at the prime source. Dorsey was just as fast as Parker at tonguing and the method from his book on a triple like that was to use the phrase Dah - Gha - Dah. Modern players say Ta -Ka -Ta which I don't think is as good. You have to have a good reed that responds but it is possible to match him. The lick you refer to at 12.00" is from the New Orleans standard High Society and is the clarinet Part. The 'Genius Part you refer to at 18.00" is actually a quote that I talk about in my video 'HTPB 16 Are Patterns good or bad'.
Good look at Parker and you have a great Alto Sax sound. Only disagreement - Parker was the greatest Alto Sax player (and still is).🐦
Great comment. Thanks so much!
The lick is from "High Society"
Of course. Thanks!
Great video. Is the “triple tonguing” bit just false fingering, using the first overtones of the low B and B flat fingering?
No, pretty sure it’s not that.
Jamie maybe the person who can tell you how to do the double triplet is Kenny Garrett
Quite possibly!
I don’t know what I like more, you teaching us or just seeing how much you enjoy this!
You mention Patrick Bartley a few times, will he be a guest for the inner circle? If not, he really should 🙏🏽🔥
Yeh I’m trying to get in touch with him actually. LOVE his playing!
@@GetYourSaxTogether you know he's buggered off to Japan?
For the tonguing articulation, maybe instead of like the usual tonguing technique. Touching the end of the reed and mouthpiece it’s like your flicking up and down on the reed.
I think the first and normal way slows us down and for this type of tonguing it needs to be quick.
That’s my 2 cents 😂 I think it seems to work though.
Yeh, maybe you’re right.
Thanks for another interesting and INFORMATIVE lesson, and for that great pdf. What kind of ligature is that on your alto?
Thanks Michael, you're welcome. Check out this video for my set up.
@@GetYourSaxTogether Thanks; I appreciate that you even replied. That sent me to 208 of your videos, several of which I haven't seen yet and am anxious to check out. BUT, I couldn't find out what kind of ligature you are using on your most recent video. The "My Full Sax Setup" video says you use a Vandoren MO ligature on your alto, but that's not what you're using now, and the "Details of All My Gear" video only mentions your tenor ligature. What is the new. alto sax ligature that looks like a Jody Jazz Power Ring but doesn't have the JJ logo? Thanks.
I forgot about that airhorn in the middle of the original recording lol. Idk how Charlie Parker did it, but I know Beatbox sax has a great video on triple tonguing.
🤣
Amazing stuff Jamie, I can’t even hear that fast😂😂 ( I do have the Omni book somewhere either gathering dust or propping up a wonky table) 🥴
But you’ve inspired me to try a couple of Charlie’s licks.
Please do!
Great stuff, thanks for that 👌
My pleasure!
the triplet articulation sounds like doodle tonguing to me. muting the reed instead of stopping the vibrations entirely
Yeh maybe. Thanks for commenting!
My dear friend, You should habe analized the solo of the Carrnegie Hall Concert 1947 which is after my opinion much more radical. He almost blows his horn into pieces.
Check my video on his night in Tunisia break!
Hey Jamie! I think I might have figured out the fast triplet tonging that Bird does in this solo. It sounds to me like he’s using the first overtone of low Db sandwiched between two open fingering Dbs. This way, he can get away with playing fast triplets on the same note without having to re-articulate.
I think the use of this technique is most explicit in this recording of “The Bird” at 1 minute and 4 seconds in: th-cam.com/video/KYQCwoas3rk/w-d-xo.html. Hope this helped!
I don’t think so. I don’t think it’s an alternate fingering thing n
A great music study ........
Thanks! :-)
Maybe he uses"hadada"😊
Maybe 🤔
Tu ku tu (triplet)
Yup, thanks! 🙏🏻
The famous Link comes from Alphonse Daudet.
Thanks for the info
He means Alphonse Picou, not the author of “Tartarin of Tarascan,” Alphonse Daudet, much beloved by high school French students (Not!).
The maddening thing about Bird is if you evaluate everything up tempo he did at half speed, it seems human and doable, but at the tempo he does the tunes at, your left wondering, what the hell did he have to do to be able to pull this off? 🎷🥳👨🏻
“You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.” ------- Charlie Parker
@@GetYourSaxTogether yeah I pretty much know that already. My whole problem has always been That saxophone is just one of my many hobbies in life, and the responsibility of life has always gotten in the way of me time abd dedicating myself to saxophone, so I can play, but in my case, it’s really all a matter of lack of practice, and not having to play out anymore, that’s where most of my inability comes from. And of course, old age and health issues are now taking over to some degree!😩
🎷🥳😉👨🏻
When you slow him down, he begins to sound like Prez.
The articulation at bar 33 and 37 is not so stacatto and sounds to me like he's ghost tonguing, though I can't imagine how to triple ghost tongue!
😎
I'm to flippin' old to have to think this hard... :)
🤣
As for the "insane triple tonguing thing," I learned that he was using a false fingering (overtone) for the second note of the triplet.
Yeh, I don’t think it’s that.
Isn't tikitiki ?
?
Get well soon Jamie. Try this 3 mins from the Sanborn twice daily to pep you up a bit👍 th-cam.com/video/aeY2uIceqSc/w-d-xo.html
Thanks n
False finger that triplet thing and you’ll find the pocket … 10 minutes of experimentation and 10 minutes of application… an easy 20 minutes 😅
No, it’s not false fingers. It’s a kind of stutter tonguing.
So much good stuff there yeah but in order to fully appreciate it one has to listen at 1/10 of the speed! I guess that part of bebop is what put a lot of people off jazz. And after that came cool jazz, something people could actually relate to more easily.
By the way, what about that Charlie Parker Cherokee recording before the war, that was like proto-bebop, wasn't it? Drat that recording ban!!
Someone else mentioned that - was that with Jay McShan?
Emanuele, yes it's the speed that puts me off - it often degrades into merely vomiting notes. Speed on any instrument impresses me intellectually but does nothing for me emotionally unless it is used judiciously (e.g. Gary Moore's guitar solo on Out In The Fields with Phil Lynott). Hearing Jamie play these lines slower takes the music up a notch for me.
@@unclemick-synths Yep!
Who are the TARGET audiences of the JAZZMAN?
What are the BEHAVIORAL OBJECTIVES of the JAZZMAN as he is called upon to create and to recreate, ad infinitum?
By what is the ("organic") ARTIST (of any discipline) motivated? For what?
Nonetheless, point's noted.
Sorry not prewar, it was 1943
And here's a video with transcription th-cam.com/video/1gdI9OKIXiM/w-d-xo.html
It’s not speed for speed’s sake. It’s part of the bop idiom. And it places demands on the listener. You’re asking Bird to slow down? That’s his form of musical expression. Just as JSB’s fugues demand concentration on the part of the listener to hear both voices.
“You can’t always get what you want.”
🔥🔥😂
👌🏻
The greatest is Jamie, then Brecker, then Bird.
🤣
High Society
Alphonse Picou
Thanks for the info
Why can’t you do the triplet, I can do it and I’m rubbish 🤪🤪🤪😂😂😂
OK explain how
how do you do it?
Parker’s speed ruins so much of the beauty of his lines and phrasing for me because no one can hear that fast. Slow him down to 75% and it’s so much more pleasing to listen to.
Interesting!
Ridiculous! Appreciate modern jazz for what it is, not what YOU want it to be. Or move on.
For my personal taste, it sounds so much better when you played it slower , at his speed you miss half the beauty of the music .
That's a fair point.
But YOUR playing it slower then makes us appreciate Bird’s intuitive genius that much more. However, one MUST listen to it at the speed it was played to grasp the true musical genius of the performance. It’s no longer truly “Ko Ko” played at half speed.
Great video Jamie, thankyou.
😊