Thanks for the kind note, and I'm so happy that you are enjoying these videos. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Wonderful, @@RockRabot007 ! I hope we might find a way to work together. Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Thank you so much, great commetnts as always! I remember have readen somewhere that Morgan came with this amazing composition during a dead time in the record session, or to fil in a space and complete the album or something like that lol you never know. This tune has not only sound, it instantly transmits to me the eternal smile of Billy Higgins all the way and his easiness playing incredible stuff
I've heard that story too. Amazing right!? Not a bad tune for taking 10 minutes to write it! Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
The piano always does the Charleston starting on 2. But the drum snare hits actually alternates: first bar starts on 2. Second bar starts on 1! There is an additional hit on beat 4.
That's incredible that you caught that about the song, my dence musical mind would not have thought about that at all now I'm going to have to think about that LOL
You're hitting all the tunes that were my very faves when I first fell in love with jazz as an adult- Sidewinder, Stolen Moments; if you do Blue Train or Blue Farouq, I'll freak out! LOL
Great lesson ( as ALWAYS)! As I listen to this song for the 100th time, I just realized that Barry Harris' solo has a similar vibe to Ramsey Lewis' solo on "The In Crowd", (and yes, I know that Barry came first.) Also, I always felt something slick happening with the rhythm, but you nailed it for me with your explanation of swing and straight co-existing. For jazz waanabes, it doesn't get any better than this channel!
Great lesson. Thank you! The snare is pretty tricky. It varies a bit but I think the main part is 2 and 4 on measure 1 , 2nd measure is 1, "and of" 2 and 4. He doesn't do it exactly like that every time, but consistently enough that I think it's the main part. Sadly the kick is very hard to hear clearly but seems to be on 1, "and of" 2, 3,4. but it would make sense that it's a feathered 4 on the floor. But seems to have that syncopated "and of" 2 in line with the ride pattern. But sometime only seems to be on the 1, and the bass is making me think the kick is busier. I do wish the kick were a bit more prominent in this era of recording. And for me something that really distinguishes Billy Higgins' ride pattern is this really authoritative "1." Herbie Hancock “Watermelon Man” 1962, is another great example. Sometimes is very accented, but even when it's not, there always seems be "space" around the "1" that gives it a great authority. Billy Higgins' jazz ride technique is my favorite. As well as his dynamics and incredible pocket.
The bass player has a video about the session. He says he forgot the lick that started the song so they spliced the tape before and did another take for the last head.
Sidewinder is pretty “canned," as you note. A pretty large proportion of the tune is 'composed' (Barry Harris playing a 'composed' figure over 70% of the song; Cranshaw's bass is pretty consistent (repetitive); Higgins groove is pretty consistent through most of the song without much variation)? Does that take away from its 'jazz-ness'?
I love this guy. So positive. Great way of teaching. Only mature musicians can appreciate the value other musicians make on their chosen instruments.
Thanks for the kind note, and I'm so happy that you are enjoying these videos. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
I found your analysis to be most interesting and insightful. Thank you.
Thanks for tuning in. Please subscribe, and stay tuned for much more of this! Are you are musician yourself?
Yes, tenor sax@@JeffAntoniukEducator
Wonderful, @@RockRabot007 ! I hope we might find a way to work together. Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Thank you so much, great commetnts as always! I remember have readen somewhere that Morgan came with this amazing composition during a dead time in the record session, or to fil in a space and complete the album or something like that lol you never know. This tune has not only sound, it instantly transmits to me the eternal smile of Billy Higgins all the way and his easiness playing incredible stuff
I've heard that story too. Amazing right!? Not a bad tune for taking 10 minutes to write it! Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
The piano always does the Charleston starting on 2. But the drum snare hits actually alternates: first bar starts on 2. Second bar starts on 1! There is an additional hit on beat 4.
Great listening John. Yes, a fascinating web of rhythms here, right!?
That's incredible that you caught that about the song, my dence musical mind would not have thought about that at all now I'm going to have to think about that LOL
Love-lee!
You're hitting all the tunes that were my very faves when I first fell in love with jazz as an adult- Sidewinder, Stolen Moments; if you do Blue Train or Blue Farouq, I'll freak out! LOL
Awesome!! Blue Train and Dolphin Dance are coming . . .
Great lesson ( as ALWAYS)! As I listen to this song for the 100th time, I just realized that Barry Harris' solo has a similar vibe to Ramsey Lewis' solo on "The In Crowd", (and yes, I know that Barry came first.) Also, I always felt something slick happening with the rhythm, but you nailed it for me with your explanation of swing and straight co-existing. For jazz waanabes, it doesn't get any better than this channel!
That is great David!! So happy you found some good stuff here. Good note about the Ramsey Lewis inspiration as well.
Great lesson. Thank you! The snare is pretty tricky. It varies a bit but I think the main part is 2 and 4 on measure 1 , 2nd measure is 1, "and of" 2 and 4. He doesn't do it exactly like that every time, but consistently enough that I think it's the main part. Sadly the kick is very hard to hear clearly but seems to be on 1, "and of" 2, 3,4. but it would make sense that it's a feathered 4 on the floor. But seems to have that syncopated "and of" 2 in line with the ride pattern. But sometime only seems to be on the 1, and the bass is making me think the kick is busier. I do wish the kick were a bit more prominent in this era of recording. And for me something that really distinguishes Billy Higgins' ride pattern is this really authoritative "1." Herbie Hancock “Watermelon Man” 1962, is another great example. Sometimes is very accented, but even when it's not, there always seems be "space" around the "1" that gives it a great authority. Billy Higgins' jazz ride technique is my favorite. As well as his dynamics and incredible pocket.
THANKS for the great input here. You've done your homework!! Please subscribe if you haven't already, and definitely keep posting comments like this!!
The bass player has a video about the session. He says he forgot the lick that started the song so they spliced the tape before and did another take for the last head.
I just heard that from someone else today!! At least that gives me permission to forget the break on my gig tonight as well! 😂🔥🎷
Sidewinder is pretty “canned," as you note. A pretty large proportion of the tune is 'composed' (Barry Harris playing a 'composed' figure over 70% of the song; Cranshaw's bass is pretty consistent (repetitive); Higgins groove is pretty consistent through most of the song without much variation)? Does that take away from its 'jazz-ness'?
To me this is still full on jazz. The spirit is there, and the solos are killing!