Jazz player from my observation may play more on the changes rather than using the blues scale. The stylist things like growls, bend up and down, little quarter tone shadings etc. may not be part of the players style being more interested in an approach that is based on the line or melodic/harmonic approach and emotion being secondary.
Here I try to blend playing on the changes with a blues approach. I took third position chrom playing based on the minor6 sound that so haunting and applied it on the changes
Here's Charlie Parker playing over some blues changes. It's definitely bebop jazz, not what would be identified as an idiomatic example of a blues song.
---------- Call me J
Last Edited by jnorem on Jun 21, 2014 11:34 AM
That Parker tune sounded bluesy to me. Still a 1-4-5 progression-right? Compared to the jazz with lots of chord changes and different progressions,we blues guys got it made. Of course with blues, it's all about the microtonals and those growls and blue 3rds.
Could "style" also refer to the list below? Great tune btw Diggs, enjoyed that :)
Delta Blues Chicago Blues Piedmont Blues Country Blues Folk blues Blues rock Jump Blues, Detroit Blues Texas blues Etc, etc blues
Last Edited by Frank on Jun 21, 2014 11:45 AM
what is cool about the albert king video.... is it is a 14 bar blues, how often do you see that? at least it starts off as 14 bars it soon changes to a 16 bar progression. quite often, when a song has other than a 12 bar progression an 8 bar or a 16 bar progression, when it is time to solo the form reverts to a 12 bar section for the solos examples are, walking by myself 8 bar .....12 bar for the solo and my babe little walter's 16 bar .......12 bar for the solo so this is quite different, somewhat out of the box. there are most likely examples of this song played as a straight 16 bars. but there is quite the twist here.
not sure if there is any interest here, so feedback is encouraged.
also love that bobby brown song! everybody's talking all this shit about me why can't they just let me live.
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i get a lot of request when i play my harmonica "but i play it anyway"
Actually, most of the time, including both by Herbie Hancock and Mongo Santamaria, that's usually a 16 bar blues.
Muddy Waters' Just To Be With You (which Junior Wells recorded on his Delmark LP Hoodoo Man Blues under the title Ships On The Ocean), is a 14 bar blues, and if you're not used to odd or irregular chord progression structures and go into automatic pilot into 12 bar blues, it can be a real problem.
Charlie Parker was probably the first to introduce improvisation based more on the chord changes rather than off the melody or even the groove, and it most certainly had an influence on Little Walter's playing at times.
One thing I should say that too many players often mistakenly believe is that 1-4-5 changes doesn't automatically translate into being blues because there are tons of examples of tunes with 1-4-5 changes that clearly are NOT blues at all. ---------- Sincerely, Barbeque Bob Maglinte Boston, MA http://www.barbequebob.com CD available at http://www.cdbaby.com/cd/bbmaglinte
another cool thing about that song it is a one four five, with the addition of a Bb major.... the flatted 3rd. the more i play it, the more i like it! great tune for harp. ----------
i get a lot of request when i play my harmonica "but i play it anyway"
Last Edited by 1847 on Jun 25, 2014 11:23 AM
