Thanks for this! It's very encouraging for me, because I started as a singer (choir and solo) and guitar came after. And this style of soloing makes so much sense to me! It's what I hear rather than scales.
Just plain beautiful, Denis. The Bechet-soprano, the empathetic Django-guitar (with a little wink to Be Bop), the piano and the Armstrong-esque ending. And another essential video: Storytelling and rhythm. When european impressionism meets syncopation rooted in african polyrhythms. Like George Benson puts it: 'If your foot doesn't tap, it's not jazz, no matter how technically advanced you play.' I tend to come on as a 'grumpy ol' man' talking to fellow jazz musicians about the path choices made by contemporary jazz music: It's either music as a circus act (which is a pre-dominantly european high-brew tradition, the contineous advancement of melody and harmonies rooted in furthering the monophonic Gregorian chant tradition) or for the body (which is predominantly rooted in ceremonial, indigenous 'dance music' where the bodies talk to the spirits). Which makes swing music the ultimate hub in jazz music, spanning the spectrum from trad jazz to Be Bop and Hard Bop aswell as crossbreeding european art-directions Impressionism and Modernism with african polyrhythmic traditions (Debussy -> Stravinsky -> Gershwin -> Ellington -> Django). And it all boils down to one common denominator: Music that speaks to the spirits. And we're talking conversations, not self-centred monologues. We're talking storytelling and how your storytelling dramaturgically fits in with the general storytelling of the other voices (i.e. instruments) in the song. How the storytelling subordinates and follows the flow in order to increase the flow. Improve the story without leaving the basic story. The importance of musical storytelling can never be understated. Scales and arpeggios do not tell stories, they only formalize old knowledge but do not open the window to new musical stories that capture us, make us dance or just sink into. Bending the rules like Armstrong, Ellington, Django. In a pulsating flow, even the simplest little story - the simplest little melody - becomes interesting. All while a musical circus number on an instrument, requires a simple framing so as not to overload and lose the story. Essential. Thank you Denis! May your words and insights reign supreme. ♥👍
Hey guys! thanks for watching! DC Music School is having its end of year sale! Oh ya! www.dc-musicschool.com
Thanks for this! It's very encouraging for me, because I started as a singer (choir and solo) and guitar came after. And this style of soloing makes so much sense to me! It's what I hear rather than scales.
Great idea. We need more material on how to improvise from the melody and tell a story.
Just plain beautiful, Denis. The Bechet-soprano, the empathetic Django-guitar (with a little wink to Be Bop), the piano and the Armstrong-esque ending. And another essential video: Storytelling and rhythm. When european impressionism meets syncopation rooted in african polyrhythms. Like George Benson puts it: 'If your foot doesn't tap, it's not jazz, no matter how technically advanced you play.' I tend to come on as a 'grumpy ol' man' talking to fellow jazz musicians about the path choices made by contemporary jazz music: It's either music as a circus act (which is a pre-dominantly european high-brew tradition, the contineous advancement of melody and harmonies rooted in furthering the monophonic Gregorian chant tradition) or for the body (which is predominantly rooted in ceremonial, indigenous 'dance music' where the bodies talk to the spirits). Which makes swing music the ultimate hub in jazz music, spanning the spectrum from trad jazz to Be Bop and Hard Bop aswell as crossbreeding european art-directions Impressionism and Modernism with african polyrhythmic traditions (Debussy -> Stravinsky -> Gershwin -> Ellington -> Django). And it all boils down to one common denominator: Music that speaks to the spirits. And we're talking conversations, not self-centred monologues. We're talking storytelling and how your storytelling dramaturgically fits in with the general storytelling of the other voices (i.e. instruments) in the song. How the storytelling subordinates and follows the flow in order to increase the flow. Improve the story without leaving the basic story. The importance of musical storytelling can never be understated. Scales and arpeggios do not tell stories, they only formalize old knowledge but do not open the window to new musical stories that capture us, make us dance or just sink into. Bending the rules like Armstrong, Ellington, Django. In a pulsating flow, even the simplest little story - the simplest little melody - becomes interesting. All while a musical circus number on an instrument, requires a simple framing so as not to overload and lose the story. Essential. Thank you Denis! May your words and insights reign supreme. ♥👍
beautiful rendition of the man i love in the beginning
very good solo on the first song!
It was beautiful!
For the algorithm 🙏. Nice video 🎶
Is there a good playlist or must listen early Jazz tunes list?
If you like this style at the intro check out Sidney Bechet or The Benny Goodman Trio.
Didn't know you were one of those red cap people Denis .. 😂
Red cap, blue cap, purple cap?
Nyingmapa?
Make Jazz Swing Again!
Make Guitar Bop Again!
Make Manouche Pop again!