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
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)
This 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 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
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.
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.
Winelight, featuring the track “Just The Two Of Us,” went platinum and garnered two Grammy awards. Winelight is probably one of Grover Washington’s best-loved albums. It includes Bill Withers’ Grammy Award winning song “Just the Two of Us,” and other well-executed smooth jazz compositions. Washington has long been one of the leaders in R&B-influenced jazz, and this album consolidates his claim to fame as one of the fathers of this often misunderstood sub-genre. Steve Gadd’s smart drumming gives each song a relaxed, infectious groove. The saxophonist really unwinds on tunes such as “Let it Flow (for “Dr. J.)” and “Make Me a Memory (Sad Samba),” improvising over a soulful blend of blues, jazz, and pop, a combination both accessible to mainstream pop listeners and musically compelling to jazz fans. Recorded in June and July 1980. Also available with Come Morning on 1 cassette. Live Recording Personnel: Grover Washington, Jr. (soprano, alto & tenor saxophones); Bill Withers (vocals); Paul Griffin, Richard Tee (Fender Rhodes); Raymond Chew (Clavinet); Bill Eaton, Ed Walsh (synthesizer); Eric Gale (guitar); Marcus Miller (bass); Steve Gadd (drums); Robert Greenidge (steel drums); Ralph MacDonald (percussion); Hilda Harris, Yvonne Lewis, Ullanda McCullough (background vocals). Producers: Grover Washington, Jr, Ralph MacDonald. Personnel: Grover Washington, Jr. (saxophone, soprano saxophone, alto saxophone, tenor saxophone); Bill Withers (vocals); Eric Gale (guitar); Paul Griffin (Fender Rhodes piano, Clavinet, keyboards); Richard Tee (Fender Rhodes piano); Ray Chew (Clavinet); Bill Eaton (Oberheim synthesizer); Steve Gadd (drums); Ralph MacDonald (congas, percussion); Robert Greenidge (steel drum); Ullanda McCullough, Yvonne Lewis, Hilda Harris (background vocals). Audio Remixer: Elliot Scheiner. Liner Note Author: David Nathan.
Recording information: Rosebud Recording Studio (06/1980-07/1980).
Photographers: Don Hunstein; Tom Copi; Jim Shea; Robin Kaplan; Scott Weiner.
Arranger: Bill Eaton.
tracks
A Change of Heart (1987) Warner Bros
By the mid 1980s saxophonist David Sanborn’s sound was dominated by the synthetic tinge of keyboards and synthesizers, falling in line with the slick, crossover jazz style of the era. 1987’s Change of Heart is emblematic of Sanborn’s direction at the time, and its eight tracks alternate between funky, danceable numbers and smooth ballads, all with a highly polished commercial veneer. Sanborn seldom gets adventurous; but that’s not what his listeners expect. Rather, Change of Heart shows off the saxophonist’s bright, groovy sound and plenty of his patented high-register playing.
Engineers include: Michael Hutchinson, Eric Calvi, Keith Seppanen.
Personnel includes: David Sanborn (alto saxophone); Mac Rebennack (piano); Don Grolnick (electric piano); Philippe Saisse (keyboards, synthesizers, programming); Michael Colina, Ronnie Foster (synthesizers, programming); John Mahoney (Synclavier); Michael Brecker (EWI); Carlos Rios (acoustic & electric guitars); Marcus Miller (guitar, keyboards, bass); Hugh McCracken, Nicky Moroch, Hiram Bullock (guitar); Anthony Jackson (bass); Steve Ferrone, Micky Curry, John Robinson, Steve Gadd (drums); Mino Cinelu (percussion, electronic drums); Paulinho Da Costa (percussion); Jason Miles (synthesizer programming).
Producers: Marcus Miller, Ronnie Foster, Philippe Saisse, Micheal Colina.
01 – Chicago Song (Marcus Miller)
Marcus Miller (born William Henry Marcus Miller Jr., June 14, 1959, Brooklyn, New York) is an American jazz composer, producer, and multi-instrumentalist. Miller is best known as a bassist, working with trumpeter Miles Davis, pianist Herbie Hancock, singer Luther Vandross, and saxophonist David Sanborn, as well as maintaining a prolific solo career. Miller is classically trained as a clarinetist and also plays keyboards, saxophone and guitar.
Life and career
Early life
Miller was born in 1959 and raised in a musical family that includes his father, William Miller (a church organist and choir director) and jazz pianist Wynton Kelly. By 13, Marcus was proficient on clarinet, piano and bass guitar, and already writing songs. Two years later he was working regularly inNew York City, eventually playing bass and writing music for jazz flautist Bobbi Humphrey and keyboardist Lonnie Liston Smith. Miller soon became a first call session musician, gracing well over 500 albums, a short list of which includes Michael Jackson, Herbie Hancock, Mariah Carey, Wayne Shorter, McCoy Tyner, Frank Sinatra, Dr. John, Aretha Franklin, Elton John, Grover Washington Jr., Donald Fagen, Bill Withers, Chaka Khan, LL Cool J, Me’shell Ndegé Ocello and Flavio Sala.
Professional career
Miller at the Paradiso in Amsterdam, 2007
Miller spent approximately 15 years performing as a sideman or session musician, observing how band leaders operated. During that time he also did a lot of arranging and producing. He was a member of the Saturday Night Live band 1978-1979. He wrote the intro to Aretha Franklin’s ‘I Wanna Make It Up To You’. He has played bass on over 500 recordings including those of Luther Vandross, Grover Washington Jr., Roberta Flack, Carly Simon, McCoy Tyner, Bryan Ferry andBilly Idol. He won the “Most Valuable Player” award, (awarded by NARAS to recognize studio musicians) three years in a row and was subsequently awarded “player emeritus” status and retired from eligibility. In the nineties, Miller began to make his own records, putting a band together to take advantage of touring opportunities.
Miller’s proficiency on his main instrument, the bass guitar, is generally well-regarded. Not only has Miller been involved in the continuing development of the technique known as “slapping”, particularly his “thumb” technique, but his fretless bass technique has also served as an inspiration to many, and he has taken the fretless bass into musical contexts and genres previously unexplored. The influences of some of the previous generation of electric bass players, such as Larry Graham, Stanley Clarke, and Jaco Pastorius, are audible in Miller’s playing. Early in his career, Miller was accused of being simply imitative of Pastorius, but has since more fully integrated the latter’s methodology into his own sound.
Miller has an extensive discography, and tours frequently and widely in Europe and Japan.
Between 1988 and 1990 he appeared in the first season and again toward the end as both the musical director and also as the house band bass player in the Sunday Night Band during the two seasons of the acclaimed music performance program Sunday Night on NBC late-night television.
As a composer, Miller wrote “Tutu” for Miles Davis, a piece that defined Davis’s career in the late 1980s, and was the title track of Davis’s album Tutu, upon which Miller wrote all the songs with only two exceptions, and one of those was co-written with Davis. He also composed “Chicago Song” for David Sanborn and co-wrote “‘Til My Baby Comes Home”, “It’s Over Now”, “For You to Love”, and “Power of Love” forLuther Vandross. Miller also wrote “Da Butt”, which was featured in Spike Lee’s School Daze.
Personal life
Miller has a wife and four children: two daughters and two sons, one of whom, Jon, recently graduated from Columbia Universityand now works for radio and television host Glenn Beck.
Grammy Awards
Miller has won numerous Grammy Awards as a producer for Miles Davis, Luther Vandross, David Sanborn, Bob James, Chaka Khan andWayne Shorter. He won a Grammy Award for Best R&B Song in 1992, for Luther Vandross’ “Power of Love” and in 2001 he won for Best Contemporary Jazz Album for his fourth solo instrumental album, M2.
Miller currently has his own band. In 1997 he played bass and bass clarinet in a band called Legends, featuring Eric Clapton (guitars and vocals), Joe Sample (piano), David Sanborn (alto sax) and Steve Gadd (drums). It was an 11-date tour of major jazz festivals inEurope.
In addition to his recording and performance career, Miller has established a parallel career as a film score composer. He has written numerous scores for films featuring Eddie Murphy, L.L. Cool J, Chris Rock, Matthew Perry, Samuel L. Jackson and others. He composed the musical score for the Chris Rock-created sit-com, Everybody Hates Chris, now in syndication on Nick-At Nite.
Instruments and gear
He plays a 1977 Fender Jazz Bass that was modified by Roger Sadowsky with the addition of a Bartolini preamp so he could control his sound in the studio. Fender currently produces a Marcus Miller signature Fender Jazz Bass in four- (made in Japan) and five-string (made in U.S) versions.
Solo period (1982–present)
Luther Vandross period
Grover Washington jr period
David Sanborn period (1975–2000)
Miles Davis period (1980–1990)
The Jamaica Boys period (1986–1990)
Film scores
David Sanborn (born July 30, 1945) is an American alto saxophonist. Though Sanborn has worked in many genres, his solo recordings typically blend jazz with instrumental pop and R&B. He released his first solo album Taking Off in 1975, but has been playing the saxophone since before he was in high school. Sanborn has also worked extensively as a session musician, notably on David Bowie’s Young Americans (1975).
One of the most commercially successful American saxophonists to earn prominence since the 1980s, Sanborn is described by critic Scott Yannow as “the most influential saxophonist on pop, R&B, and crossover players of the past 20 years.” Sanborn is often identified with radio-friendly smooth jazz However, Sanborn has expressed a disinclination for both the genre itself and his association with it.
Biography
Early years
Sanborn was born in Tampa, Florida, and grew up in Kirkwood, Missouri. He suffered from polio in his youth, and began playing the saxophone on a physician’s advice to strengthen his weakened chest muscles and improve his breathing. Alto saxophonist Hank Crawford, at the time a member of Ray Charles’ band, was an early and lasting influence on Sanborn. Sanborn performed with blues musicians Albert King and Little Milton at the age of 14, and continued playing blues when he joined Paul Butterfield’s band in 1967, after attending the University of Iowa.
Although Sanborn is most associated with smooth jazz, he explored the edges of free jazz in his youth, studying with saxophonists Roscoe Mitchell and Julius Hemphill. In 1993, he revisited this genre when he appeared on Tim Berne’s Diminutive Mysteries, dedicated to Hemphill. Sanborn’s album Another Hand also featured leading avant garde musicians.
In his three and-a-half decade career, Sanborn has released 24 albums, won six Grammy awards and has had eight gold albums and one platinum album. He continues to be one of the most highly active musicians of his genre, with 2010 tour dates exceeding 150.
He has been a highly regarded session player since the late 1960s, playing with an array of well-known artists, such as James Brown, Bryan Ferry, Michael Stanley, Eric Clapton, Bobby Charles, Cat Stevens, Roger Daltrey, Stevie Wonder, Paul Simon, Jaco Pastorius, the Brecker Brothers, Michael Franks, Kenny Loggins, Casiopea, Players Association, David Bowie, Todd Rundgren, Bruce Springsteen, Little Feat, Tommy Bolin, Bob James, James Taylor, Al Jarreau, Pure Prairie League, Kenny G, George Benson, Joe Beck, Donny Hathaway, Elton John, Gil Evans, Carly Simon, Guru, Linda Ronstadt, Billy Joel, Kenny Garrett, Roger Waters, Steely Dan, Ween, the Eagles, The Grateful Dead, the German group Nena, and Japanese pop star Utada Hikaru.
Sanborn has won numerous awards including Grammy Awards for Voyeur (1981), Double Vision (1986), a Change of Heart (Chicago Song) (1987) and the instrumental album Close Up (1988). In television, Sanborn is well known for his sax solo in the theme song for the NBC hit drama L.A. Law. He has also done some film scoring for films such as Lethal Weapon and Scrooged. In 1991 Sanborn recorded Another Hand, which the All Music Guide to Jazz described as a “return by Sanborn to his real, true love: unadorned (or only partly adorned) jazz” that “balanced the scales” against his smooth jazz material. The album, produced by Hal Willner, featured musicians from outside the smooth jazz scene, such as Charlie Haden, Jack DeJohnette, Bill Frisell, and Marc Ribot. His more recent albums include Closer.
In 1994 Sanborn appeared in A Celebration: The Music of Pete Townshend and The Who, also known as Daltrey Sings Townshend. This was a two-night concert at Carnegie Hall produced by Roger Daltrey of English rock band The Who in celebration of his fiftieth birthday. In 1994 a CD and a VHS video were issued, and in 1998 a DVD was released.
In 1995 he performed in The Wizard of Oz in Concert: Dreams Come True a musical performance of the popular story at Lincoln Center to benefit the Children’s Defense Fund. The performance was originally broadcast on Turner Network Television (TNT), and issued on CD and video in 1996.
Broadcasting activities
Sanborn has performed on both radio and television broadcasts; he has also acted as a host. Since the late 1980s he has been a regular guest member of Paul Shaffer’s band on Late Night with David Letterman. From 1988-89, he co-hosted Night Music, a late-night music show on NBC television with Jools Holland. Following producer Hal Willner’s eclectic approach, the show positioned Sanborn with many famed musicians, such as Miles Davis, Dizzy Gillespie, Pharoah Sanders, Eric Clapton, Robert Cray, Lou Reed, Jean-Luc Ponty, Santana, Todd Rundgren, Youssou N’dour, Pere Ubu, Loudon Wainwright III, Mary Margaret O’Hara, Screamin’ Jay Hawkins, and Curtis Mayfield. During the 1980s and 1990s, Sanborn hosted a syndicated radio program, The Jazz Show with David Sanborn. Sanborn has recorded many shows’ theme songs as well as several other songs for The Late Late Show with Tom Snyder.
More recent activities
In 2004, Sanborn was inducted into the St. Louis Walk of Fame. In 2006, he was featured in Gordon Goodwin’s Big Phat Band’s album The Phat Pack on the track “Play That Funky Music”, a remake of the Wild Cherry’ hit in a big band style. Sanborn often performs at Japan’s Blue Note venues in Nagoya, Osaka, and Tokyo. He plays on the song “Your Party” on Ween’s 2007 release La Cucaracha. On April 8, 2007, Sanborn sat in with the Allman Brothers Band during their annual run at the Beacon Theatre in New York City.
In 2010, Sanborn toured primarily with a trio featuring jazz organist Joey DeFrancesco where they played the combination of blues and jazz found in his latest album. “Only Everything”. In 2011, Sanborn will tour with keyboardist George Duke and bassist Marcus Miller as the group “DMS”.
Albums
As leader
As sideman
With Hubert Laws
DVDs
Filmography
Actor/Host
Himself
Gear List
Marcus Miller’s anthem, Chicago Song, the addictive and groovy bass line
les grilles pour impression: grilles2
Alfie, Road Song, Train shuffle, Song for my Father, Take five
Original mp3, backing tracks, BIAB, partitions sont dans les boites.