Cruise with Bruce EnterprisesTRANSATLANTIC JAZZ CRUISE – NYC to UK |
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for a week, on sea, and on stage.
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Transatlantic Jazz Cruise – NYC to UK
In Events on September 6, 2012 at 9:22 pm
Drinkify… try it
In Fun on July 1, 2012 at 6:04 pm
Drinkify!
Apparemment funics n’est pas encore répertorié, si vous avez des suggestions de boissons …
Jean Pierre (Miles Davis) partition
In Jean Pierre, Partitions on June 29, 2012 at 9:21 pm
Trouvé sur internet, un grand merci au transcripteur.
Egalement dans la boite, ainsi que l’original mp3, Jean Pierre (01, We Want Miles, 1982)
jean pierre chords, scales, patterns, tablature, partition
Fête de la Musique 0’Paradise, La Celle Saint Cloud, le 21 Juin.
In Concert, Events on June 11, 2012 at 8:58 amProchain concert au Lounge Bar O’Paradise, La Celle Saint Cloud, à 21h00.
le Jeudi 21 Juin
18 Avenue de la Jonchère
Centre commercial Elysée Village
78170 La Celle Saint Cloud
tel: 01 39 69 47 47
Réservez dès maintenant votre table au Pizza Bar O’Paradise.
Transposing Instruments
In Theorie on June 2, 2012 at 9:36 pmfrom Catherine Schmidt-Jones
A pianist, a cellist, a trombonist, and a autist all see a C written in their parts. They may play the C in different octaves, but they will all play a note that the others recognize as a C. This may seem obvious, but a clarinetist who sees a C on the page will play a note that does not sound like a C to the other players.
This is because the clarinet is a transposing instrument. The music for transposing instruments is not written or read at concert pitch. The clarinetist, for example, seeing a C on the page, will play a note that sounds like a Bb. The clarinet is therefore called a Bb instrument. A French horn player, seeing a C on his “horn in F” or “F horn” part, will play a note that sounds like an F. Obviously, not just the C but all the notes are different. For a Bb instrument, for example, not just the C sounds a whole step lower, but every note sounds a whole step lower than written. In order to be read correctly by most players, music for transposing instruments must be properly transposed. ….
So What (tips from the boss)
In So What on May 29, 2012 at 10:42 amPour ce thème la mise en place reste inchangée en définitive. J’ai rajouté une 3ème portée pour une réponse des sax alternative Attention: la double croche est à penser ternaire. Pour que chacun prépare la prochaine séance je vous joins le mp3 du thème ralenti ainsi que la 2ème page en boucle (dans un mail suivant).
Marie pour les accords (croche pointée double-croche), Dm7 substitution en quarte à partir de la 9ème : E A D G (B) qui résout sur la même forme à partir de la tonique : D G C F (A)
Idem pour Ebm7
jdl
(les partitions et mp3s sont dans les boites, ainsi que l’original de Ronny Jordan)
In Others on May 29, 2012 at 6:46 am
There are also chords based on fourths instead of thirds. These chords in fourths were made popular by McCoy Tyner (John Coltrane’s piano player).
Quartal voicings have a jazzy sound and work very well in modal music.
How is the jazz guitar chord in fourths constructed and how does it look on the guitar neck?
Quartal voicings are used most often in modal music and most often in a minor or dominant key.
Let’s start with the D Dorian scale:
| D E F G A B C |
Let’s build a chord on the first notes of the D Dorian scale, but instead of stacking thirds we’ll be stacking fourths:
| D G C F |
The result is a chord you could call a Dm11, but I don’t want to give names to these quartal voicings because they behave like harmonic chameleons:
- If we put a D in the bass of our first example, we get a Dm11.
View original post 148 more words
So What – Miles Davis
In So What on May 25, 2012 at 10:57 pmThis jazz standard is the first tune on Miles Davis’ classic record, “Kind of Blue.” It’s the top jazz album of all time as measured by sales. 
It’s sold over 20 million copies, and still sells about 5,000 copies a week. And it was recorded in 1959. You should listen to it. A lot. It’s one of the most important jazz albums in existence, perhaps the most important. It even made Rolling Stone’s list of top albums (at #12 all-time). Rolling Stone can hardly be known for paying attention to jazz, and so it’s an amazing testament to Miles’ album that it would rank at all. Especially at #12.
Bill Evans starts this tune out with a nice intro on this tune, but in practice most groups don’t play it exactly like the record. That would be an interesting thing to do, since most groups don’t seem to go to that effort. The bass player plays the melody of this tune. So What has the same changes as John Coltrane’s tune “Impressions,” the latter having a faster tempo and melody. It makes sense that Coltrane would steal the changes for his own tune, having cut his teeth in Miles’ band and performing So what regularly.
This is perhaps the first recorded example of modal jazz. It has very few chord changes. It’s an AABA form, using Dorian minor harmony. The B section is a half-step up from the A section. Most pianists and guitarists, including Bill Evans, like to use diatonic fourth chords when comping. For example, DGCFA up to EADGB up to FBEAC is a nice progression on the D-7 using diatonic fourth stacks with a third on top. Play around with it, and LISTEN! Even non-guitarists and non-pianists should experiment with this idea on the piano to help understand this idiomatic harmonic movement even when the chord doesn’t change.
Ronny Jordan biography
In Bio, So What on May 25, 2012 at 10:03 pmRonny Jordan est un guitariste anglais, emblématique du mouvement acid jazz du début des années 90. 
Sa reprise de So What de Miles Davis, extraite de son premier album The Antidote, a été très remarquée. Il est connu comme l’un des initiateurs d’une fusion entre jazz et hip hop. Il a d’ailleurs participé au tout premier volume de la série des “Jazzmatazz“, le projet jazz-rap du rappeur Guru, paru en 1993. Il s’est vu récompensé aux MOBO Awards et aux Gibson Guitar Awards et a obtenu une nomination aux Grammy Awards en 2000 pour son album “A Brighter Day“. Son style, au fil des années, a glissé de plus en plus vers un registre smooth jazz plus classique.
Discographie
- 1992 : The Antidote (Fourth & Bway)
- 1993 : The Quiet Revolution
- 2000 : A Brighter Day (Blue Note Records)
- 2001 : Off the Record (Blue Note Records)
- 2002 : The Collection (Universal)
- 2003 : At Last (N-Coded Music
- 2004 : After 8 (N-Coded Music)
- 2009 : The Rough and The Smooth (Private & Public Music)
Ronny Jordan (né Ronald Laurence Albert Simpson, le 29/11/1962, Londres) est un guitariste de jazz anglais, très influent dans le développement de l’Acid jazz et du Smooth jazz.
Né de parents protestants jamaïcains (son père est diacre), il apprend la guitare en audodidacte dès l’âge de 4 ans, plongeant ses racines dans le gospel d’Andrae Crouch ou des Soul Stirrers.
Puis il découvre les courants Swing et Bop, à travers les influences de Wes Montgomery, Charlie Christian, Grant Green, Roy Ayers ou Keith Jarrett.
So What (Ronny Jordan)
Sur son premier album, “The Antidote” (1992), Ronny Jordan est derrière tous les instruments (guitare, claviers, basse, batterie) et assure égalements certaines parties vocales. Les morceaux “After Hours” et “So what” sont tous deux très remarqués, l’un pour l’alliance du smooth et de l’acid jazz, l’autre pour l’originalité de l’interprétation du standard de Miles Davis.
En 1993, Ronny Jordan participe à un album emblématique de l’Acid jazz : “Jazzmatazz, Vol. 1” du rappeur Guru.
Cette même année, il signe également son deuxième album , “The Quiet Revolution”, où se mêlent hip-hop, rap, acid jazz, smooth jazz, pop, et même jazz mainstream.
L’album suivant, “Light To Dark”, sort en 1996. L’influence du smooth s’accroît, au détriment du rap et de l’acid jazz.
Puis, “A Brighter Day” sort en 2000, au label Blue Note. Jordan y assume un jazz léger et aérien, qu’on pourrait classer quelquepart entre Smooth et Cool jazz. Le disque est nomminé au Grammy Award du meilleur album de Jazz Contemporain.
L’album “After 8” paraît en 2004 chez N-Coded Music. Le guitariste y poursuit son cheminement éclectique, où le Smooth se teinte de Cool, de RnB, de Hip-hop, ou de reggae. A défaut d’un style précis, on retrouve le son de guitare sensuel et généreux de RJ, sa seule véritable marque de fabrique.
:>)azZClefs# 