Yes, yes..... I am glad to hear a professional saying this - thank you! -- it's helpful to me as a fairly new improviser, though I am someone with many, many decades of listening to jazz. It isn't all about a ton of notes, which I can't play yet anyway :), but at least when I listen, so many famous players today (IMO) just play a torrent of notes that really don't say anything. Your example at around 6:00 was helpful and sounded great.
One thing I realized yesterday is that sometimes I have the changes memorized based on the chords around them. Like on the tune Straight Street, I won't remember the chords on bar 3 if I don't play something on bar 2. I don't know if this is an issue that is unique to me but I'm glad that I'm aware of it now
Absolutely not unique to you. I find this happening alot myself. An easy way to transcend this is to think about what's happening with the changes in key center. Easier said than done in the moment unfortunately lol.
A few thoughts... playing incessantly over many changes is not particularly appealing to many people... it is difficult to sound musical with so many notes... I cannot play that much and listen too... I prefer to make music that is pleasing to me and less notes does sound better... and I am not a believer in cutting contests improve music... Hal Crook talks about pause-play which is great advice! Thanks again for a great subject!
What you played over confirmation didn’t sound crazy at all to me. It’s when playing too many notes like semiquavers on each chord without pause or rest that it becomes tedious and meaningless. Chad LB springs to mind
Hello. Honestly, I'm 45 and play since the dynosaurs disapeared 😂. But I never liked fast enormous solos. I never appreciate bebop fast language. For me Ben Webster is enough and perfect language (for example). You can remember a solo by earing it 3 times. Meaning the melody is here. And something happens in a large majority of listeners. Yes playing fast fast fats is technically amazing. But at the end, what listener remember abour it? Thx for the video
Not long ago I came across the idea of leaving space from Hal Crook’s book “How to Improvise.” He suggests alternating playing then resting for various numbers of measures. This was a mind opener. I had gotten into the habit of playing over every chord. What I have come to call “chasing the changes.” I’ve found leaving space quite challenging, especially without looking at the music. It forces you to really know the changes and to use your ear. Thanks Nick!
Yes, yes..... I am glad to hear a professional saying this - thank you! -- it's helpful to me as a fairly new improviser, though I am someone with many, many decades of listening to jazz. It isn't all about a ton of notes, which I can't play yet anyway :), but at least when I listen, so many famous players today (IMO) just play a torrent of notes that really don't say anything. Your example at around 6:00 was helpful and sounded great.
One thing I realized yesterday is that sometimes I have the changes memorized based on the chords around them. Like on the tune Straight Street, I won't remember the chords on bar 3 if I don't play something on bar 2. I don't know if this is an issue that is unique to me but I'm glad that I'm aware of it now
Ya dude! I think this is probably true for a lot of people. I know it has been for me in the past
Absolutely not unique to you. I find this happening alot myself. An easy way to transcend this is to think about what's happening with the changes in key center. Easier said than done in the moment unfortunately lol.
A few thoughts... playing incessantly over many changes is not particularly appealing to many people... it is difficult to sound musical with so many notes... I cannot play that much and listen too... I prefer to make music that is pleasing to me and less notes does sound better... and I am not a believer in cutting contests improve music... Hal Crook talks about pause-play which is great advice! Thanks again for a great subject!
Couldn't agree more.
Miles is a good antidote to this, with all the space he leaves.
Absolutely
I like to treat measure 3 of Confirmation as a resting point, leaving out the G7 and just playing over the Dm7. It helps me slow the pace down.
Space ! Thanks !
What you played over confirmation didn’t sound crazy at all to me. It’s when playing too many notes like semiquavers on each chord without pause or rest that it becomes tedious and meaningless. Chad LB springs to mind
Hello. Honestly, I'm 45 and play since the dynosaurs disapeared 😂. But I never liked fast enormous solos. I never appreciate bebop fast language. For me Ben Webster is enough and perfect language (for example). You can remember a solo by earing it 3 times. Meaning the melody is here. And something happens in a large majority of listeners. Yes playing fast fast fats is technically amazing. But at the end, what listener remember abour it? Thx for the video
Less is usually more.
It’s like having a conversation with the listener instead of running your mouth and not saying anything meaningful!
Where’s the pdf.☮️🎵🎶🎵🎷
Not long ago I came across the idea of leaving space from Hal Crook’s book “How to Improvise.” He suggests alternating playing then resting for various numbers of measures. This was a mind opener. I had gotten into the habit of playing over every chord. What I have come to call “chasing the changes.” I’ve found leaving space quite challenging, especially without looking at the music. It forces you to really know the changes and to use your ear. Thanks Nick!