Author: kdwill4

https://www.youtube.com/watch?v=betIOVwks8s

I just love how JJ takes his ideas, connects them and develops them. I like how he uses runs functionally to move and develop ideas rather than just impress people by doing a lot of runs which I don’t like as much.

Here’s the list of 20 other contrafacts and my sources.

Sources:
1) wikipedia http://en.wikipedia.org/wiki/List_of_jazz_contrafacts ,
2) http://blindman.fr.yuku.com/topic/19791#.VQcRKGRR45g​,
3) https://answers.yahoo.com/question/index?qid=20090322201138AA3FOqH
4) http://www.jazztrumpet.com/lessons/contrafacts.html​

1 ​An Oscar for Treadwell
​charlie parker
2 ​Anthropology
​charlie parker
​3 Apple Jump​
​dexter gordon
4 Dig
​Miles Davis
5 ​Salt Peanuts
​Charlie Parker – Dizzy Gillespie
​6 Syntax
JJ Johnson ​
7 ​Tiptoe
​JJ Johnson
​8 Turnpike
​JJ Johnson
​Stay On It​
​Dizzy Gillespie
​Cottontail
​Duke Ellington
​Passport
​Bird
​Moose The Mooche
​Bird
​Jumpin at the Woodside
​Count Basie
​Hoe Down
​Oliver Nelson
​Room 608
​Horace Silver
​O Go Mo
​Kai Winding​
​Chant of the Groove
​Fats Waller​
​XYZ
​Earl Hines​
​Something In B Flat
​Benny Golson​
​Theme of No Repeat
​Tadd Dameron​

I’m still developing my taste for bebop, initially I found it so fast that I just felt that there wasn’t much melody and the speed was just compensating for that. Speed for speed’s sake doesn’t really impress me. In my musical brain class, we talked about the limit of our processing ability, when someone does a piano rake its sounds nice when we hear it as a distinct whole descending sound. Trying to hear every note isn’t always beneficial, and to some extent that is true to all music, and especially with bebop.

Some things worthy of mentioning that are great here is the sparsity near the beginning (45). Knowing the autumn leaves melody makes this much more enjoyable, because you already have the expectation of what it will sound like, and then we he rests for most of it, it is pleasantly surprising. I kinda hear a ghost melody when he rests, which comes from my memory of the melody- it’s a cool effect on its own, but also also the development of contrast as he begins to fill in all that space. This is a good technique that I want to implementing my own solo’s, giving them rom to grow. I appreciate, but am not crazy about all the fast stuff, and throughly enjoy the rhythmic variation.
I liked the sax and piano solo’s too, and especially how the piano used chords and sequences to build intensity.

Featured here are both solo trombonists (the masterful Frank Rosolino and Carl Fontana), bass and piano (I thought that was nice for our class. This is a bossa nova in the key of D, and I just love the melody. The countermelody in the second trombone is great it it’s own right too.

I love how the trombonist clearly listen and support each other (I believe one is playing lead and the other is supporting the other, but even playing lead requires you to listen and keep the balance). Here articulation plays a key role in keeping the two lines distinguishable from each other, but also in defining the melody and providing contrast. The smooth parts sound so much smoother after some staccato notes. A hot tub is so much more inviting after a long day.

This song is a song where you can solo in either normal or double time. In my solo’s I have struggled with how to switch between these and integrate them into a larger idea. If you listen carefully, you’ll here clear distinct parts of the solos switch time. The first trombone solo is in double time, and if I’m not mistaken, the rhythm section speeds up with him as the solo gains intensity. It requires complete focus for the band to be able to intensionally speed up together and then reset the tempo. The second trombone solo plays with the two speeds or feels. While I enjoyed the intensity of the first solo, I actually liked the variation and melody of the second solo more. What do you think? I also really liked the bass solo (which includes both speeds.)

http://youtu.be/94qVX-0KrVM