Benn grinding my way through this tune for a couple of months now. Man there's a lot going on. No idea when it'll be session-ready but you gave me some good ideas here. Thanks man.
George Morrow on Bass - he had a great career also . .. worked with Frank Comstock in LA and move to Florida to work at Disney World - my intro to the Jazz World
Wow! Thank you for this wonderful resource. I am a lifelong Violinist whom is totally in love with the cannon of Jazz Standards. I have been very much enjoying and finding benefit in your presentations. We sound great together 🎻🎶❤️
I used to play this on the guitar quite a while back, just accompanying sax etc who would do the tune. A pianist who I follow (Chris Durham) did a collaboration with a saxophonist a little while back and it inspired me to ask him for a backing. Well, he put one up and mentioned I asked for it, so I'm sort of obligated to have a go now😂 That bridge definitely has some interesting changes and I think Chris is going faster than the record. I checked out other guitarists playing/teaching their fingerings and it seems to be a general thing to ghost the triplets. But, just as you said, I'm practicing slowly and am trying to get them all in. I will definitely do as you say and try to get some of the little licks to use in the solos. Thank you for the lovely story too. 👍
Another great video my friend! I'm working my way through this very tune now. The ornaments on the bridge are a little tricky but your video has provided the light at the end of the tunnel for me. Your videos give encouragement and instill confidence for one to strive for more. Thanks again! JB the Evanston Piano Man!
Thank you again, I really do enjoy your videos even though I’m not a musician. I’ve learned so much. While watching I often think back on which versions I am familiar with. This one was Manhattan Transfer 1st well b4 I started grovin on Clifford. The history and backgrounds are interesting to hear about.
One of my favourite tunes....and I did take the time to learn it a few years ago, and used to play it with a trumpet player and bassist. I remember it being a lot easier than I thought it would be. But I had to listen to Clifford Brown's as well as Freddie Hubbard's recording quite a few times. Great rendition! Hopefully I'll be able to use what you do as an inspiration to try doing some more interesting improvisations over it.
My generation learned (might be slightly older than you) improvisation via Abersold and including all the specific chromatically altered harmonies / chord scales. What this did for me was make me more comfortable with songs that modulate like this one or Along Came Betty or have modal shifts like Fall or my own compositions. But slightly alianated from meat and potatoes diatonic partner close in tonal changes. So in my 50s I realized that's what bebop is actually designed for. Fucking live and learn. But I grew up around two different things old bopper big band retired cats who loved Phil and Dex etcetera. But I also grew up composing and loving Wayne, Kenney Wheeler and Ralph Towner.
So I notice in the left hand you're often hitting the root with the pinky and both the 9 and 10 with the thumb - is that an intentional voicing or just because you can't reach a clean 10th? I'm in a similar boat - I can stretch to reach some 10ths, but will never hit say, D to F#. And very jealous of those that can actually walk a bass line with 10ths.
Great question, Corey! It's a way of getting a color tone in there (the 9th) along with the root and 3rd.But it only works when both notes are white notes, or sometimes with both black notes. It works in pop music as well.
Benn grinding my way through this tune for a couple of months now. Man there's a lot going on. No idea when it'll be session-ready but you gave me some good ideas here. Thanks man.
I'm glad this helps - have fun and keep at it!
George Morrow on Bass - he had a great career also . .. worked with Frank Comstock in LA and move to Florida to work at Disney World - my intro to the Jazz World
Always found Joy Spring to be one of the most aptly named standards. The melody is just so exuberant, and it's such an earworm!
Agreed - "exuberant" is the right word!
Enjoyed that very much.
Thanks Jose!
Wow! Thank you for this wonderful resource. I am a lifelong Violinist whom is totally in love with the cannon of Jazz Standards. I have been very much enjoying and finding benefit in your presentations. We sound great together 🎻🎶❤️
Thanks for touching base, Michael! These tunes are a gift to us and I'm glad you're enjoying these videos. Jazz violin is wonderful!
Thanks a ton!
I'm glad you enjoyed this, John!
amazing video thank you
Thanks Ryan!
I used to play this on the guitar quite a while back, just accompanying sax etc who would do the tune.
A pianist who I follow (Chris Durham) did a collaboration with a saxophonist a little while back and it inspired me to ask him for a backing.
Well, he put one up and mentioned I asked for it, so I'm sort of obligated to have a go now😂
That bridge definitely has some interesting changes and I think Chris is going faster than the record.
I checked out other guitarists playing/teaching their fingerings and it seems to be a general thing to ghost the triplets.
But, just as you said, I'm practicing slowly and am trying to get them all in.
I will definitely do as you say and try to get some of the little licks to use in the solos.
Thank you for the lovely story too. 👍
Thanks for sharing your experiences with this great tune, Liam. It sounds like you're on the right track!
Another great video my friend! I'm working my way through this very tune now. The ornaments on the bridge are a little tricky but your video has provided the light at the end of the tunnel for me. Your videos give encouragement and instill confidence for one to strive for more. Thanks again! JB the Evanston Piano Man!
Mission accomplished! This is my main goal; to give encouragement and instill confidence. Yes, you can so this!
Thank you again, I really do enjoy your videos even though I’m not a musician. I’ve learned so much. While watching I often think back on which versions I am familiar with. This one was Manhattan Transfer 1st well b4 I started grovin on Clifford. The history and backgrounds are interesting to hear about.
Great job on a wonderful tune. Thank you very much.
Thanks William - much appreciated :)
Ron, thank you very much for a great presentation. One of the greatest songs ever. I thought your chord solo was a great touch
Thanks Jeffrey!
Wow! One of my favorite standards! Great playing! Thanks.
Thanks!!!
One of my favourite tunes....and I did take the time to learn it a few years ago, and used to play it with a trumpet player and bassist. I remember it being a lot easier than I thought it would be. But I had to listen to Clifford Brown's as well as Freddie Hubbard's recording quite a few times. Great rendition! Hopefully I'll be able to use what you do as an inspiration to try doing some more interesting improvisations over it.
Thanks Larry and have fun playing "Joy Spring!"
Thanx, Maestro 🌹🔥🔥🌹
My generation learned (might be slightly older than you) improvisation via Abersold and including all the specific chromatically altered harmonies / chord scales. What this did for me was make me more comfortable with songs that modulate like this one or Along Came Betty or have modal shifts like Fall or my own compositions. But slightly alianated from meat and potatoes diatonic partner close in tonal changes. So in my 50s I realized that's what bebop is actually designed for. Fucking live and learn. But I grew up around two different things old bopper big band retired cats who loved Phil and Dex etcetera. But I also grew up composing and loving Wayne, Kenney Wheeler and Ralph Towner.
Thanks for sharing. Yeah, both approaches have their place in the world of jazz.
So I notice in the left hand you're often hitting the root with the pinky and both the 9 and 10 with the thumb - is that an intentional voicing or just because you can't reach a clean 10th? I'm in a similar boat - I can stretch to reach some 10ths, but will never hit say, D to F#. And very jealous of those that can actually walk a bass line with 10ths.
Great question, Corey! It's a way of getting a color tone in there (the 9th) along with the root and 3rd.But it only works when both notes are white notes, or sometimes with both black notes. It works in pop music as well.
I love this tune! One of my favorites. Great video - informative and enjoyable. Thank you!
Thanks Brent - it's such a wonderful tune to play!
hey ron, do some more Beatles if you have a chance, your videos are great and unique
Absolutely - The Beatles are on my list!
@@rondrotoskeyboardimprov9453 Excellent to hear. Looking forward to the next iteration, Ron.