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Post by RickW on Sept 4, 2021 10:06:33 GMT -5
This is an amazing bit of finger style jazz. Incredible arrangement, beautifully played. I think I could actually play this, there’s nothing inherently insane here. But I would take me about a year to learn it, and get it reasonably smooth enough.
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Post by Marshall on Sept 4, 2021 10:10:23 GMT -5
But I would take me about a year to learn it, Well, get cuttin’ then!
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Post by RickW on Sept 4, 2021 10:18:37 GMT -5
But I would take me about a year to learn it, Well, get cuttin’ then! Lol.. I have finally reached the point where I no longer want to try. I spent so many years writing and trying to learn complex music, and came to the conclusion that it’s more fun to write and record songs that I can play well. 50+ years to get to that point.
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Post by TKennedy on Sept 4, 2021 11:45:44 GMT -5
Solid groove too. Never drops the beat. Impressive.
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Post by Russell Letson on Sept 4, 2021 11:53:40 GMT -5
The guy certainly has chops, and the individual sections are musical, but the arrangement comes across almost as an encyclopedia of techniques. It doesn't breathe much, and I don't know that I'd want to sit through an entire set of this kind of playing. I have a similar reaction to the playing of a keyboard guy of my acquaintance who sometimes lets his technical prowess overwhelm his considerable musicality--some of his uptempo solos are so notey that I lose track of the form of the tune. Igusa's playing isn't that busy, but I'd like it better if he let in a bit more air.
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Post by Russell Letson on Sept 4, 2021 12:26:06 GMT -5
Not comparable in a number of ways, but I found this demo more satisfying musically. (Also the X-versus-parallel experiment is interesting--and to my ears, surprising.)
And just for fun, another archtop-comparison video. (I prefer the Epi/Eastman over the Gibson voice.)
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Post by Rob Hanesworth on Sept 4, 2021 12:54:52 GMT -5
This is an amazing bit of finger style jazz. Incredible arrangement, beautifully played. I think I could actually play this, there’s nothing inherently insane here. But I would take me about a year to learn it, and get it reasonably smooth enough. Don't care for it. He obviously has a skill level I can only dream of, but if I had the skill I wouldn't use it that way. The melody is in there, but my ears have to work too hard to find it. I prefer simpler.
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Post by RickW on Sept 4, 2021 13:36:46 GMT -5
Not comparable in a number of ways, but I found this demo more satisfying musically. (Also the X-versus-parallel experiment is interesting--and to my ears, surprising.) And I find that one wanders a bit aimlessly for me, and I lose the piece. But to each his own. As I said to another friend with whom I shared this with, I’m sure there’s a version of pretty much every famous jazz tune for every taste. There are probably Klezmer and Metal versions of Autumn Leaves out there, somewhere.
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Post by drlj on Sept 4, 2021 13:39:20 GMT -5
Here is my “any dummy can play it” version of Autumn Leaves. Chords can be played in open or closed positions and the melody falls right out of the chords. Like me, it’s simple but nice.
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Post by RickW on Sept 4, 2021 13:41:19 GMT -5
Here is my any dummy can play it version of Autumn Leaves. Chords can be played in open or closed positions and the melody falls right out of the chords. Like me, it’s simple but nice. John has said many times that you’re simple…. Thanks, might muck around with that for fun.
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Post by drlj on Sept 4, 2021 13:46:30 GMT -5
Here is my any dummy can play it version of Autumn Leaves. Chords can be played in open or closed positions and the melody falls right out of the chords. Like me, it’s simple but nice. John has said many times that you’re simple…. Thanks, might muck around with that for fun. Simple, but nice. You forgot the “but nice” part!
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Post by Russell Letson on Sept 4, 2021 14:37:23 GMT -5
I suspect that part of my reaction has to do with acoustic vs electric textures--I really enjoy the range of sounds an acoustic can produce. But there are indeed places where the Cranmer player (the luthier himself?) gets a bit lost in the weeds. But the arrangement breathes in both timing and texture. One of the things that I don't enjoy as much as many others is the way bop-and-later jazz guitar tries to emulate horns and piano. I get the desire to free the instrument harmonically from guitaristic limitations and to jam like Bird and be heard over the rest of the ensemble, but the guitar has its own resources and joys.
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Post by james on Sept 4, 2021 14:53:29 GMT -5
I did find klezmer and disco interpretations. But as you're all sophistimacated.....
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Post by Russell Letson on Sept 4, 2021 15:07:46 GMT -5
LJ's chart reminded me that I first encountered the tune (via sheet music I still have somewhere, 50 years later) in G, which is the key my jazz pals call it in. But the C version is easier for non-jazzers (aside from that pesky m7-flat-5). So I Googled and found this interesting post about the influence of Real Book on setting standard keys: keyboardimprov.com/why-is-autumn-leaves-played-in-the-key-of-e-minor/I recall that the old, illegal Real Book was full of errors and oddities that later, legal editions fixed. When I take on a tune that I'm not learning for the jazz group (all users of marked-up Real Books), the first place I check is the Frank Mantooth collections, whose renderings are quite accurate (and which I always simplify).
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Post by TKennedy on Sept 4, 2021 16:01:23 GMT -5
Francoise Hardy!! Knew that name rang a bell.
She was in one of my all time favorite films “Grand Prix”. She had several memorable scenes the best of which was the “I don’t dance” snippet.
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Post by gbacklin on Sept 4, 2021 16:28:55 GMT -5
Then there is Eva
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Post by drlj on Sept 4, 2021 16:29:57 GMT -5
LJ's chart reminded me that I first encountered the tune (via sheet music I still have somewhere, 50 years later) in G, which is the key my jazz pals call it in. But the C version is easier for non-jazzers (aside from that pesky m7-flat-5). So I Googled and found this interesting post about the influence of Real Book on setting standard keys: keyboardimprov.com/why-is-autumn-leaves-played-in-the-key-of-e-minor/I recall that the old, illegal Real Book was full of errors and oddities that later, legal editions fixed. When I take on a tune that I'm not learning for the jazz group (all users of marked-up Real Books), the first place I check is the Frank Mantooth collections, whose renderings are quite accurate (and which I always simplify). My chart is an acoustic guitar friendly arrangement. It sounds pretty good and can be easily done on my HD-28. It’s not how a real jazz guitarist would do it.
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Post by RickW on Sept 4, 2021 18:27:43 GMT -5
I’d forgotten about that version. Brilliant.
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Dub
Administrator
I'm gettin' so the past is the only thing I can remember.
Posts: 19,910
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Post by Dub on Sept 4, 2021 18:34:08 GMT -5
From Wikipedia.
I’m guessing the rendition by Irène Joachim from the French film Soleil de Nuit might be in the original key. It’s possible, though perhaps less likely, that Jo Stafford’s 1950 recording is in the original key, but who knows.
On edit: Given that Irène (Ee-ri-nay) is a man’s name it seems to me that Em is more likely than Gm.
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Post by billhammond on Sept 4, 2021 18:49:11 GMT -5
Jacques was such a Prevert.
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