I’ve been waiting years for you to get to Nardis, and what a performance! Your approach has heavily inspired my guitar playing. Your fearlessness is what makes your channel one of my favorites. Also, I love the background information you provide for the pieces. It’s such an important context that can really change how you perform a song. I’m excited for what’s next!
That's funny. A guy talks about "modal" all the time but not once did i hear a "phrygian" or "lydian" even though in Nardis these scales practically punch you in the face. Recommended recording of Nardis: Chet Baker in 1985.
Lovely performance! One of my favorites in the Real Book. I love how flexible this tune is. It was made for Bill Evans, so much so it's easy to think he wrote it. I do think he's confirmed it to be Mile's tune in an interview somewhere.
Sometimes I look at some of these tunes in the real book and wonder what can a single piano do with that? Well you answered that, once again. Wonderful performance! It's nice to see you back as I look forward to your videos.
I've listened to Bill Evans Nardis Live in Helsinki 1970 at least 200 times. I don't know how to play piano. But I'm going to learn! And I'll start with practicing this all day everyday until I get it. There's something extra special about this in that I never, ever tire of it!
Oooh this seems to good to be true - a complete journey through the Real Book? Fantastic idea - can't wait to check them all out - even Vol II?? Love this level of though and style just within the first 5 mins, instant subscribe!
Thanks, Jim, and welcome aboard! So far I've done about 250 songs and hope to continue soon. When I finish Vol 1, I'll probably start Vol 2 right away.
If you listen to Bill Evans recordings he doesn’t solo on the 2nd last bar on the A sections as Emajor, instead he always seems to play Eminor to B7. The “book” doesn’t work that nuance in but seems to be fairly “major”, excuse the pun. Not having to go to major for the solo kind of simplifies the tune and almost makes it less traditional Spanish sounding, at least for the solo.
You make an interesting observation here, and yes, the nuances make a big difference at times. I generally stay with the Real Book chords in these videos because, for better or worse, they're becoming the standard changes that most musicians play these days. But yes, we can go deeper on the tunes we're personally interested in, and discover these things. Thanks for contributing!
So fantastic you're back on the journey after a long pit stop. I've been missing these videos. My mum , who's terribly traditional in her tastes - German waltzes mainly - absolutely adores Nardis. It's become her gateway drug into jazz (and Miles Davis was mine). Not surprised Bill Evans was obsessed by it, it's the kind of tune that just eats you up. Am loving playing it - it's weird how the E minor to E major transitions slide so "logically" into each other - and it's been great to hear your version (twice).
@@rondrotoskeyboardimprov9453 I certainly love jazz waltzes and the Real Book has a decent number of them - Bluesette, Waltz for Debbie, Favourite Things, That's Amore... I was meaning more her taste was the waltzes of Grieg, Brahms or Chopin. I used to be exclusively a classical pianist, see. I never had any idea how to even start with impro. I still hold on to a reduced repertoire of Chopin, Ravel and Rach but the sheer effort of having to remember it all is such a burden. I am now a 55-year old reborn, relishing my mid-life crisis with jazzy show tunes instead of a red Ferrari! It's really nice to have the journey back, Ron. And your Nardis was a treat. I love the bit where you did a few bars of exclusively parallel 4ths - such an interesting and appealing sonic feature.
Thanks for posting. I love your approach, not only focused on music but the background. This is one of my favourite jazz tunes thanks to Bill's multiple interpretations: each one of them is different!
Thanks - I'm glad my approach is resonating with you! Yes, Evans used this tune as an exploration, in a way that he didn't necessarily do with each tune he played.
The most interesting and maybe also controversal issue to be discussed with Nardis is if phrygian on the E minor is mandatory (which some might claim due to all the evident chords from C ionian from which it is the third mode of) or one can also use E dorian for instance, which would include an F# as a colorful tension to play (what also makes sense if you consider to play the Cmaj7 as lydian with the F# representing its #11). I tend to do both as a variation, using a G7/9/13 shape (f-a-b-e) as a left hand voicing for E phrygian or several voicing concepts of dorian as well. How do you think about it?
I think you make some excellent points! We want variety, and using different scales can help accomplish this. Of course, the older generations of jazz musicians would advise us to "play what you hear." If we hear phrygian play that. If we hear something else, then play that. Thanks for contributing :)
@@rondrotoskeyboardimprov9453 Thank you, appreciate your answer. One has to know the rules and theory to break them consciously but also intuitively, empirically or by chance as well for harmonic enrichment and expansion.
@@JustCurious2watch Exactly! I think of them less as rules and more as principles. Once we understand the principles involved, we can let them manifest in various ways.
Thanks Ron, recently discovered your channel. Appreciate your comments on the background of the chart and jazz trends at the time. Thanks also for the overhead view of the keyboard, and all the improvisation!
Thanks for this one. I never really understood why many regard this a "modal" tune as the main theme isn't really modal, only the B-section kind of is. But you confirmed that for me along with some context so that was helpful. Really liked the versions from Bill Evans (of which also many transcriptions exist). At the end of his life, Nardis could surely last for 20 minutes at a show with him really stretching out. I loved those long (and fast!) versions (The Paris Concert edition two). The one on Explorations is of course a classic.
I think the most interesting thing about the melody is that while it doesn't sit great on the horn in terms of the jumps, e minor puts the trumpet player in such a wonderful range, sound wise
I’ve been waiting years for you to get to Nardis, and what a performance! Your approach has heavily inspired my guitar playing. Your fearlessness is what makes your channel one of my favorites. Also, I love the background information you provide for the pieces. It’s such an important context that can really change how you perform a song. I’m excited for what’s next!
Even when I was just starting out, I was fearless with my music. I hope this one was worth the wait!
That's funny. A guy talks about "modal" all the time but not once did i hear a "phrygian" or "lydian" even though in Nardis these scales practically punch you in the face.
Recommended recording of Nardis: Chet Baker in 1985.
Lovely performance! One of my favorites in the Real Book. I love how flexible this tune is. It was made for Bill Evans, so much so it's easy to think he wrote it. I do think he's confirmed it to be Mile's tune in an interview somewhere.
Also, Evans recommended a modal approach to the tune.
Thanks Ron, been waiting for another Real Book tune from you - keep ‘em coming!
Sometimes I look at some of these tunes in the real book and wonder what can a single piano do with that? Well you answered that, once again. Wonderful performance! It's nice to see you back as I look forward to your videos.
Yes, the piano is a full orchestra!
I've listened to Bill Evans Nardis Live in Helsinki 1970 at least 200 times. I don't know how to play piano. But I'm going to learn! And I'll start with practicing this all day everyday until I get it. There's something extra special about this in that I never, ever tire of it!
Yes, a great tune and there's always something new to be found in it. Start by learning the 7th chords and melody - good luck and enjoy :)
Oooh this seems to good to be true - a complete journey through the Real Book? Fantastic idea - can't wait to check them all out - even Vol II?? Love this level of though and style just within the first 5 mins, instant subscribe!
Thanks, Jim, and welcome aboard! So far I've done about 250 songs and hope to continue soon. When I finish Vol 1, I'll probably start Vol 2 right away.
What a great video. Lovely, informative watch
Thanks Frank! Good luck playing this great tune :)
If you listen to Bill Evans recordings he doesn’t solo on the 2nd last bar on the A sections as Emajor, instead he always seems to play Eminor to B7. The “book” doesn’t work that nuance in but seems to be fairly “major”, excuse the pun. Not having to go to major for the solo kind of simplifies the tune and almost makes it less traditional Spanish sounding, at least for the solo.
You make an interesting observation here, and yes, the nuances make a big difference at times. I generally stay with the Real Book chords in these videos because, for better or worse, they're becoming the standard changes that most musicians play these days. But yes, we can go deeper on the tunes we're personally interested in, and discover these things. Thanks for contributing!
Love it Ron! Please keep posting the real book tunes
I'm glad you liked it, Eddie!
So fantastic you're back on the journey after a long pit stop. I've been missing these videos.
My mum , who's terribly traditional in her tastes - German waltzes mainly - absolutely adores Nardis. It's become her gateway drug into jazz (and Miles Davis was mine). Not surprised Bill Evans was obsessed by it, it's the kind of tune that just eats you up. Am loving playing it - it's weird how the E minor to E major transitions slide so "logically" into each other - and it's been great to hear your version (twice).
Interesting about your mum. Does she enjoy jazz waltzes?
@@rondrotoskeyboardimprov9453 I certainly love jazz waltzes and the Real Book has a decent number of them - Bluesette, Waltz for Debbie, Favourite Things, That's Amore... I was meaning more her taste was the waltzes of Grieg, Brahms or Chopin.
I used to be exclusively a classical pianist, see. I never had any idea how to even start with impro. I still hold on to a reduced repertoire of Chopin, Ravel and Rach but the sheer effort of having to remember it all is such a burden. I am now a 55-year old reborn, relishing my mid-life crisis with jazzy show tunes instead of a red Ferrari!
It's really nice to have the journey back, Ron. And your Nardis was a treat. I love the bit where you did a few bars of exclusively parallel 4ths - such an interesting and appealing sonic feature.
Lots of insights, I think this will be my tune (composition) for the day)...many thanks!
Enjoy!
Nardis
Anyone ever told you you look like mark ruffalo?
Yes, but I think he looks like me!
You killed it!
Thanks!
Thanks for posting. I love your approach, not only focused on music but the background.
This is one of my favourite jazz tunes thanks to Bill's multiple interpretations: each one of them is different!
Thanks - I'm glad my approach is resonating with you! Yes, Evans used this tune as an exploration, in a way that he didn't necessarily do with each tune he played.
@@rondrotoskeyboardimprov9453"exploration" pun there
The most interesting and maybe also controversal issue to be discussed with Nardis is if phrygian on the E minor is mandatory (which some might claim due to all the evident chords from C ionian from which it is the third mode of) or one can also use E dorian for instance, which would include an F# as a colorful tension to play (what also makes sense if you consider to play the Cmaj7 as lydian with the F# representing its #11). I tend to do both as a variation, using a G7/9/13 shape (f-a-b-e) as a left hand voicing for E phrygian or several voicing concepts of dorian as well.
How do you think about it?
I think you make some excellent points! We want variety, and using different scales can help accomplish this. Of course, the older generations of jazz musicians would advise us to "play what you hear." If we hear phrygian play that. If we hear something else, then play that. Thanks for contributing :)
@@rondrotoskeyboardimprov9453 Thank you, appreciate your answer. One has to know the rules and theory to break them consciously but also intuitively, empirically or by chance as well for harmonic enrichment and expansion.
@@JustCurious2watch Exactly! I think of them less as rules and more as principles. Once we understand the principles involved, we can let them manifest in various ways.
Excellent performance and insight into this great song. I love the pedal point ideas you presented. Thanks for another informative video.
Thanks Steve! I got the idea for using the pedal point in that was from John Coltrane.
This is the best composition
Yes!
Loved the history, and your version is unbelievable. Thanks Ron!
Thanks John, and for the book review on Amazon. Hope all is well with you!
Thanks Ron, recently discovered your channel. Appreciate your comments on the background of the chart and jazz trends at the time. Thanks also for the overhead view of the keyboard, and all the improvisation!
Welcome aboard, John - I hope this inspires you with your music!
Great as always. Thanks for the hard work making these
Thanks for your support, Alexander! I learn a lot from making these too.
Please do "Ask Me Now" by Monk
Great tune!
Very cool improv on a classic!
NARDIS!!
I'm watching from Japan 🎵
Thank you for your wonderful performance 🎵😊
Thanks Jun Jun!
I am watching this in Japan, too. Eating at Saizeria (!) and loving this arrangement.
@@briancullenmusic Awesome, Brian! I've heard they have excellent Italian food in Japan.
Thanks for this one. I never really understood why many regard this a "modal" tune as the main theme isn't really modal, only the B-section kind of is. But you confirmed that for me along with some context so that was helpful. Really liked the versions from Bill Evans (of which also many transcriptions exist). At the end of his life, Nardis could surely last for 20 minutes at a show with him really stretching out. I loved those long (and fast!) versions (The Paris Concert edition two). The one on Explorations is of course a classic.
I think the most interesting thing about the melody is that while it doesn't sit great on the horn in terms of the jumps, e minor puts the trumpet player in such a wonderful range, sound wise
Wonderful, thank you!
Adam
Thanks Adam!