It is a little strange to have this video coming out the following week, but his advice in the list is still really useful! Which one resonates the most with you? Thank you for all the songs, solos, and albums Chick Corea!
"Play what you hear" is what Miles Davis told Chick Corea (on the phone) before his first gig with Miles where Chick was called to replace Herbie Hancock (who had got sick). Corea asked Miles what they were going to play and when would be the rehearsal. Miles told him "no rehearsal" and about the material, he told him "play what you hear". That's where that phrase comes from.
Great video! I have been in many of the positions you described while playing with others. ( I am a guitarist) I especially enjoyed your comment regarding Herbie Hancock and Michael Brecker and the positives/negatives of certain comping habits. I plan to incorporate more space in my comping immediately! Really enjoyed the interplay with everyone!
You were talking about Pat Martino’s soloing style. It’s something that kind of amazes me. The way he can put together those long eighth note solos is something I struggle to do. I have to stop and think too much, usually. I have Wolf Marshall’s book of Martino transcriptions and study them quite a bit. Joe Pass Pat Martino, Mike Stern and John Scofield are the four jazz guitarists I listen to the most.
Pat Martino is great, but you do indeed have to be up for long 8th note lines :) You can practice playing like that by taking a song you know well and play it in a tempo where it is relaxed and you still feel free while playing continuous 8th note lines when you practice at that tempo you start developing your ability to keep going and you also develop more material suited for it.
14:55 That's a really interesting point about the breathing. Just the other day I read an interview with the Pat Metheny Group from 1980 and Pat had this to say: Metheny: All three of us [Metheny, Mays, and Egan] played wind instruments before - so did Gary Burton, so did Steve Swallow. All of the best rhythm section players - at least my favorites - seem to have played a horn before. And I've learned that the reason it helps is that you tend to breathe with what you play. Because on a bass or guitar, it's real easy to just go crazy and play all the time. Gottlieb: I watch Pat sometimes, and he actually breathes in the holes, it's great to watch. Metheny: I think it's important, because people subconsciously respond to that. When people are listening, they tend to breathe with what you're playing; and if you play too long and there's no space for a breath, they'll lose interest. Gary [Burton] was the one who first pointed that out to me, because he played the trumpet too.
That was such a fun talk Jens! Who would have thought that we would be losing Chick in the meantime... R.I.P. Chick. Thanks for this advice, and all the superb music. He really is one of our biggest inspirations, for the both of us. By the way, is this a guitarist thing with putting multiple guitars on the wall (Jorre here)? Next time I should hang up some saxophones on my wall behind me, or some Chick pics. And, would love to know from you people here in the comment section, which Chick Corea album is your favorite? I would go for the "Three Quartets" album.
Yes, it is a guitarist thing. We tend to think that guitars are beautiful enough to be decoration and hanging them on the wall also gets them out of the way. Unfortunately, it's not a very good idea, as walls (esp. concrete walls) tend to suck moisture out of the guitar and if you are unlucky, your guitar wood can warp. It's always best to keep a guitar in a humidity controlled hard case.
Chick Corea guidelines are gold! But if you follow the advices given by the red sweater guy on the upper left part of the screen, you can't go wrong. 😄
Another great video Jens. A lot to take in. The back and forth made for a great discussion. As an older amateur who has struggled to learn jazz I find your videos to be extremely informative. I wish this information was available when I was younger and starting out.
I Enjoyed this, particularly the stories of things that go wrong; like sound balancing. I remember playing outdoors when I was in High School. I had amp problems and had to borrow one. Everything was okay until I turned on a fuzz for a solo. At that point there was no other sound that was audible anywhere in the world other than my guitar. Also I think the amplifier that the sax player was thinking of that had such poor volume control was probably the Fender Hot Rod Deluxe.
Yes! I remember trying one when I was looking for an amp fro home practice. As soon as the volume knob hit about three it went from quiet to crazy loud. Totally useless for my purpose.
One time for a school jazz concert, the parents were tasked with setting up all of the sound systems. Having never dealt with guitar amps, they accidentally had everyone's microphones going through my slightly distorted amp. The worst was afterwards, when the choir did a performance singing chorale and pop music through a destorted guitar amp.
Great video Jens. Can I ask you what camera you use for these recording? I may have asked elsewhere but can't find that? Your images are so crisp and clear and I am keen to be able to capture the same quality. Any help is appreciated. Keep up the great work! Cheers Phil
At around the 18 min mark, in discussing playing with intention and not rambling? I think you all may have run across a key teacher's insight: that there is _a stage_ in your learning where rambling, in a sense, stops working. In my own playing, as a long-time amateur, I learned improvising over simple single-key progressions where I was using only one scale. There, rambling is pretty much how you learn, and as time passes, progress is quite quick. What you're doing becomes internalized, and you begin to respond intuitively. As long as you have some intent to serve the song, you intuitively play with intent. As you jump up a level into songs that are a greater harmonic challenge, the notion of playing with intent is something that has to become conscious again, because at the new level it's not intuitive. So what kind of work/practice fosters that? I don't pretend to have the expertise to offer a definitive answer. My own personal answer is that once you understand the concept of the melody working in conjunction with the harmony/chord changes, you have to go song by song. Learn a song well, and yo can play intuitively again. The intent is there, but it's subconscious or immediate or something. You're not thinking about the doing, you're simply doing. When you're at one with it? That's the place to be. It's fluid. Almost like it's not originating with you, but passing through you. You're channeling a signal, like a vessel.
@@paulgerards6494 nog een paar maandjes hopelijk... 😄 En dan kunnen we misschien weer wat. Nu, het is waarschijnlijk niet dat het veel uitmaakt in publiek voor jazzmuzikanten 😂😂. Dan maar wat op den TH-cam wat speule eh
i don't know what you guys think but as a guitar player i find that my improvs are strongly influenced by tones. i have sometimes played around with this playing over a track with a clean tone and then using a more effected tone and finding that i play very differently because of the tone???????
I would certainly hope so. Changing the tone gives you very different possibilities in terms of what works depending on compression, delay or modulation.
I agree with you Jens at 15:30.. Im not a trained or schooled musician.. just a bedroom hacker.. that said.. Ive had horns and harmonicas and guitars since childhood and grew up surrounded by American music.. and its always so surprising to me (to this day) ..this "just play what you hear"... and "just listen"...and .. Jim Hall as a master of synthesis .. always a respected part of the conversation.. "moving it along" ...so Im always surprised... how "the song teaches us" (not so much the form... but "the song"... the story...via the movement ( so much jazz is just form.. I think thats when it can become waffle... ie.. what is the actual musical statement ?... thats a very traditional outlook.. none the less.. I often ask myself...what am I doing ?.. what am I saying here..now ? Im lost etc...I find if I just slow down...relax (speaking of myself here.. not a band situation ) and give myself the time and allow the space... the music "enters" (and very quickly too) .. and the hearing really begins... for me its like a vast door opening.. and what I wanted to say about Charlie Parker.. despite the speed.. his simple melodic turnarounds... are very "song like"... they "sing" ... as morsels...in themselves etc.... not as jazz pattern like.. or theory like ..or maths... just as " musical" etc... its just crazy .. how so much of it ..is not re-inventing the wheel...and I sometimes find ..just doing simple fundamental 3rds up and down..on an Alto... .. or fourths.. its like I hear ...1000 songs at once ... (that said..very traditional song forms) oh when the saints... battle hymn of the republic... mamas little baby loves shortening bread... and I hear all that stuff in Magic Sams Boogie.. to Little Walter.. even to Jaco or the Brecker Bros ... Stevie Wonder... Neil Diamond ABBA etc (Chick not so much) but certainly Charlie Parker.. Im really not just talking about Golden Jazz era stuff ...but ... about music outside of genre..... like Bach etc .. so yes.. 8ths and triplets... and simplicity of form.. just moved around in clever ways (and the space between the notes ...as the music as well...(not as forays of relentless staccato machine gun 32nds) .. but yes... a simplicity "informing the song"... and I agree ... its often difficult..via analysis... break down...and sewing all the chunks together (I cant do it like you guys) .. yet.... when one allows that space.. one often hears.. "the music"... and not the "thought choice" of Jazz 101..... I agree with Jim Hall ...you dont have to fill everything in .. its better to "just feel part of it".. Ive learned so much from you Jens... so much... but Im actually thankful... that Ive had some cultural symbiosis (absorption) ... and can recognise what I enjoy... haven't ever had the pressure of the performance on my shoulders.. there is craft.. and there is joy...and as you are totally aware.. as a masterful player.. and teacher.. its really about.. "bringing it to life".. its far more about "the how"... than.. about "the what".. I admire Eric Marienthal... but man o man.. 9 hours a day ...relentlessly ...many many many years on end.. sooo admirable... mind boggling really... to each his bone... !!! .. I dont really even know what Im trying to say ...maybe intention and approach... like the upper right bearded fellow said... intention.. we modernists (or post) ...seem to have some notion that complexity... or speed is ..more highly valued ?.. so can someone explain...why I can listen to that Sarah Vaughn 1964.. Misty (Holland?) .. 100 times... and find every listen.. remarkable.. and never boring.. sort of like looking at the Mona Lisa... my answer.. is Quality .. of Sound.. its highly subjective... but that is my personal aim and objective.. its music.. when it sounds good (its not rocket science) and thats why we can be moved by children .. hey take care... thanks again for another remarkable posting..
30:00... thats sort of part of what I was saying above ...cliche's are cliche's (mechanical) ...because they work !!!! (ie ..may sound great) I agree again with the sax guy Chet Baker .. never sounded mechanical...I actually think its part of Jazz tradition... pre set structure etc ... and cultural quotations.. but yeah taste and overuse etc.. great video format ... !!!
'Don't let your fingers and limbs just wonder.' THEY SHOULD BE DANCING. The dance can be any speed but if you aint dancing then you will be fighting your body when attempting to play rhythmically. This hurts the rhythm and .....everything else.
@@larrywarrenmusic Do you want his e-mail so that you can tell him in person that you don't approve of him not saying anything, or would you prefer to send Jorre an e-mail that he talks too much? I am glad you liked the video but conversations like this flow the way they flow. We are not working with a script or a moderator here, we are just talking.
![30 ชั่วโมงคนเดียว บนรถไฟชั้น 3 โซเวียต [Around The World Ep. 2]](http://i.ytimg.com/vi/MlE9boAVqDA/mqdefault.jpg)
It is a little strange to have this video coming out the following week, but his advice in the list is still really useful! Which one resonates the most with you?
Thank you for all the songs, solos, and albums Chick Corea!
8.
"Play what you hear" is what Miles Davis told Chick Corea (on the phone) before his first gig with Miles where Chick was called to replace Herbie Hancock (who had got sick). Corea asked Miles what they were going to play and when would be the rehearsal. Miles told him "no rehearsal" and about the material, he told him "play what you hear". That's where that phrase comes from.
Cool! I didn't know that :)
@@JensLarsen Here is Chick himself talking about this: th-cam.com/video/Ackte0iLzF8/w-d-xo.html
Thank you for sharing this!
The best and most underrated YT channel, your content is amazing thank you Jens
you deserve more views and subs:)
Thank you 🙂
Great video! I have been in many of the positions you described while playing with others. ( I am a guitarist) I especially enjoyed your comment regarding Herbie Hancock and Michael Brecker and the positives/negatives of certain comping habits. I plan to incorporate more space in my comping immediately! Really enjoyed the interplay with everyone!
Thanks Mark! Glad it was helpful!
Thank for you this Jens! Great inspiration for my week!
You were talking about Pat Martino’s soloing style. It’s something that kind of amazes me. The way he can put together those long eighth note solos is something I struggle to do. I have to stop and think too much, usually. I have Wolf Marshall’s book of Martino transcriptions and study them quite a bit. Joe Pass Pat Martino, Mike Stern and John Scofield are the four jazz guitarists I listen to the most.
Pat Martino is great, but you do indeed have to be up for long 8th note lines :) You can practice playing like that by taking a song you know well and play it in a tempo where it is relaxed and you still feel free while playing continuous 8th note lines when you practice at that tempo you start developing your ability to keep going and you also develop more material suited for it.
14:55 That's a really interesting point about the breathing. Just the other day I read an interview with the Pat Metheny Group from 1980 and Pat had this to say:
Metheny: All three of us [Metheny, Mays, and Egan] played wind instruments before - so did Gary Burton, so did Steve Swallow. All of the best rhythm section players - at least my favorites - seem to have played a horn before. And I've learned that the reason it helps is that you tend to breathe with what you play. Because on a bass or guitar, it's real easy to just go crazy and play all the time.
Gottlieb: I watch Pat sometimes, and he actually breathes in the holes, it's great to watch.
Metheny: I think it's important, because people subconsciously respond to that. When people are listening, they tend to breathe with what you're playing; and if you play too long and there's no space for a breath, they'll lose interest. Gary [Burton] was the one who first pointed that out to me, because he played the trumpet too.
A wonderful hour
That was such a fun talk Jens! Who would have thought that we would be losing Chick in the meantime... R.I.P. Chick. Thanks for this advice, and all the superb music. He really is one of our biggest inspirations, for the both of us.
By the way, is this a guitarist thing with putting multiple guitars on the wall (Jorre here)? Next time I should hang up some saxophones on my wall behind me, or some Chick pics.
And, would love to know from you people here in the comment section, which Chick Corea album is your favorite?
I would go for the "Three Quartets" album.
Yes, it is a guitarist thing. We tend to think that guitars are beautiful enough to be decoration and hanging them on the wall also gets them out of the way. Unfortunately, it's not a very good idea, as walls (esp. concrete walls) tend to suck moisture out of the guitar and if you are unlucky, your guitar wood can warp. It's always best to keep a guitar in a humidity controlled hard case.
Chick Corea guidelines are gold! But if you follow the advices given by the red sweater guy on the upper left part of the screen, you can't go wrong. 😄
Another great video Jens. A lot to take in. The back and forth made for a great discussion. As an older amateur who has struggled to learn jazz I find your videos to be extremely informative. I wish this information was available when I was younger and starting out.
Thank you! We had a great time making this as well :)
@@JensLarsen Sorry I screwed up your name originally. My bad! Fixed it!
@@maxwellshammer5283 No worries!
Hope to see even more collabs between you guys ;) Or perhaps some jams/compositions together...?
I Enjoyed this, particularly the stories of things that go wrong; like sound balancing. I remember playing outdoors when I was in High School. I had amp problems and had to borrow one. Everything was okay until I turned on a fuzz for a solo. At that point there was no other sound that was audible anywhere in the world other than my guitar. Also I think the amplifier that the sax player was thinking of that had such poor volume control was probably the Fender Hot Rod Deluxe.
Thank you! A lot of fenders have this 😁
Yes! I remember trying one when I was looking for an amp fro home practice. As soon as the volume knob hit about three it went from quiet to crazy loud. Totally useless for my purpose.
One time for a school jazz concert, the parents were tasked with setting up all of the sound systems. Having never dealt with guitar amps, they accidentally had everyone's microphones going through my slightly distorted amp. The worst was afterwards, when the choir did a performance singing chorale and pop music through a destorted guitar amp.
Great video Jens. Can I ask you what camera you use for these recording? I may have asked elsewhere but can't find that? Your images are so crisp and clear and I am keen to be able to capture the same quality. Any help is appreciated. Keep up the great work! Cheers Phil
I actually answered your other comment, but this is a Sony A7iii 🙂
At around the 18 min mark, in discussing playing with intention and not rambling? I think you all may have run across a key teacher's insight: that there is _a stage_ in your learning where rambling, in a sense, stops working.
In my own playing, as a long-time amateur, I learned improvising over simple single-key progressions where I was using only one scale. There, rambling is pretty much how you learn, and as time passes, progress is quite quick. What you're doing becomes internalized, and you begin to respond intuitively. As long as you have some intent to serve the song, you intuitively play with intent.
As you jump up a level into songs that are a greater harmonic challenge, the notion of playing with intent is something that has to become conscious again, because at the new level it's not intuitive. So what kind of work/practice fosters that? I don't pretend to have the expertise to offer a definitive answer. My own personal answer is that once you understand the concept of the melody working in conjunction with the harmony/chord changes, you have to go song by song. Learn a song well, and yo can play intuitively again. The intent is there, but it's subconscious or immediate or something.
You're not thinking about the doing, you're simply doing. When you're at one with it? That's the place to be. It's fluid. Almost like it's not originating with you, but passing through you. You're channeling a signal, like a vessel.
These guys are clever 👏💯🎸
👏
An irreparable and tragic loss Chick Corea one of the last great jazz pianists
Die Jurre ... altijd 'n lache bekkie ;) De gRtN !! Dank jUllie !!
😂😀😂 Hey Paul, hoe gaat ie? Lang geleden.
@@SharpElevenMusic Hee Jurre, best ok man, alleen niks te spelen :'-( En met jou? Lang geleden idd. !!!
@@paulgerards6494 nog een paar maandjes hopelijk... 😄 En dan kunnen we misschien weer wat. Nu, het is waarschijnlijk niet dat het veel uitmaakt in publiek voor jazzmuzikanten 😂😂. Dan maar wat op den TH-cam wat speule eh
i don't know what you guys think but as a guitar player i find that my improvs are strongly influenced by tones. i have sometimes played around with this playing over a track with a clean tone and then using a more effected tone and finding that i play very differently because of the tone???????
I would certainly hope so. Changing the tone gives you very different possibilities in terms of what works depending on compression, delay or modulation.
6:22 reminds me of that one video where someone can't remove the filter during a trial
Indeed :)
Lol😂
Chick sightreads and then play it 'one more time.' 1st sightread is just practice.
🐱 Haha ! Thx.
who I liked when I was a kid was Lenny B, ever heard?
Become OT8, have cause over matter, energy, space and time, get the instrument to practice itself.
I agree with you Jens at 15:30.. Im not a trained or schooled musician.. just a bedroom hacker.. that said.. Ive had horns and harmonicas and guitars since childhood and grew up surrounded by American music.. and its always so surprising to me (to this day) ..this "just play what you hear"... and "just listen"...and .. Jim Hall as a master of synthesis .. always a respected part of the conversation.. "moving it along" ...so Im always surprised... how "the song teaches us" (not so much the form... but "the song"... the story...via the movement ( so much jazz is just form.. I think thats when it can become waffle... ie.. what is the actual musical statement ?... thats a very traditional outlook.. none the less.. I often ask myself...what am I doing ?.. what am I saying here..now ? Im lost etc...I find if I just slow down...relax (speaking of myself here.. not a band situation ) and give myself the time and allow the space... the music "enters" (and very quickly too) .. and the hearing really begins... for me its like a vast door opening.. and what I wanted to say about Charlie Parker.. despite the speed.. his simple melodic turnarounds... are very "song like"... they "sing" ... as morsels...in themselves etc.... not as jazz pattern like.. or theory like ..or maths... just as " musical" etc... its just crazy .. how so much of it ..is not re-inventing the wheel...and I sometimes find ..just doing simple fundamental 3rds up and down..on an Alto... .. or fourths.. its like I hear ...1000 songs at once ... (that said..very traditional song forms) oh when the saints... battle hymn of the republic... mamas little baby loves shortening bread... and I hear all that stuff in Magic Sams Boogie.. to Little Walter.. even to Jaco or the Brecker Bros ... Stevie Wonder... Neil Diamond ABBA etc (Chick not so much) but certainly Charlie Parker.. Im really not just talking about Golden Jazz era stuff ...but ... about music outside of genre..... like Bach etc .. so yes.. 8ths and triplets... and simplicity of form.. just moved around in clever ways (and the space between the notes ...as the music as well...(not as forays of relentless staccato machine gun 32nds) .. but yes... a simplicity "informing the song"... and I agree ... its often difficult..via analysis... break down...and sewing all the chunks together (I cant do it like you guys) .. yet.... when one allows that space.. one often hears.. "the music"... and not the "thought choice" of Jazz 101..... I agree with Jim Hall ...you dont have to fill everything in .. its better to "just feel part of it".. Ive learned so much from you Jens... so much... but Im actually thankful... that Ive had some cultural symbiosis (absorption) ... and can recognise what I enjoy... haven't ever had the pressure of the performance on my shoulders.. there is craft.. and there is joy...and as you are totally aware.. as a masterful player.. and teacher.. its really about.. "bringing it to life".. its far more about "the how"... than.. about "the what".. I admire Eric Marienthal... but man o man.. 9 hours a day ...relentlessly ...many many many years on end.. sooo admirable... mind boggling really... to each his bone... !!! .. I dont really even know what Im trying to say ...maybe intention and approach... like the upper right bearded fellow said... intention.. we modernists (or post) ...seem to have some notion that complexity... or speed is ..more highly valued ?.. so can someone explain...why I can listen to that Sarah Vaughn 1964.. Misty (Holland?) .. 100 times... and find every listen.. remarkable.. and never boring.. sort of like looking at the Mona Lisa... my answer.. is Quality .. of Sound.. its highly subjective... but that is my personal aim and objective.. its music.. when it sounds good (its not rocket science) and thats why we can be moved by children .. hey take care... thanks again for another remarkable posting..
30:00... thats sort of part of what I was saying above ...cliche's are cliche's (mechanical) ...because they work !!!! (ie ..may sound great) I agree again with the sax guy Chet Baker .. never sounded mechanical...I actually think its part of Jazz tradition... pre set structure etc ... and cultural quotations.. but yeah taste and overuse etc.. great video format ... !!!
regarding 54:05 -- of COURSE charlie parker was relaxed while he played; he was high as fuck on heroin.
Haha there is that
'Don't let your fingers and limbs just wonder.' THEY SHOULD BE DANCING. The dance can be any speed but if you aint dancing then you will be fighting your body when attempting to play rhythmically. This hurts the rhythm and .....everything else.
Cool, but the long bearded couldn't get a word in edge wise.....I wanted to hear from him.
Then you are not watching long enough 😁
@@JensLarsen I watched the whole video, enjoyed it. He spoke a bit, but the young gentleman kept on talking.
@@larrywarrenmusic Do you want his e-mail so that you can tell him in person that you don't approve of him not saying anything, or would you prefer to send Jorre an e-mail that he talks too much?
I am glad you liked the video but conversations like this flow the way they flow. We are not working with a script or a moderator here, we are just talking.
@@JensLarsen I apologize for the trouble. I will shut my mouth.
@@larrywarrenmusic no problem, it just feels strange to get that sort of remark on a completely natural conversation 🙂