Aaron's improv here reminds me of Keith Jarrett's phrasing and language, flowing like a river, ideas cascading without hesitation, always reaching for the next bend. I'm quite sure Keith is definitely part of his "sources".
@@joshuastclairmusic Thank you! Will check the interview! Keith is my main inspiration since I started playing in 83. Since then, countless other players have come across my radar. Incredible diversity. But, for some mysterious reason, I keep going back to him, over and over.
He's playing what's in his head, but he can only hear and execute it because he's internalised a certain amount of vocabulary and theory. That, combined with a deep, natural creativity.
22:30 interesting choice to use A major 9 on a C7. an A major triad alone over C would come from the half/whole scale but he seems to be implying Amaj7/B with his scale choice. side stepping?
Bud Powell is also playing a Amaj7 on a C7, it could derive from different ideas playing Gbminor7 or Barry Harris Dbminor 6 dim scale…. Or maybe some other shit who knows….
I think if you take it out of strict context (is it the diminished scale? Is it from the altered scale? Maybe both?) My guess is that a brilliant mind like Aaron’s would see that there are 4 different major triads from the dim scale, why not use them as a building block for any type of chord that could be potentially built off of a triad? Same rule would apply for minor triads and all upper structures
I think the answer is much simpler. If you notice in the bar before he plays an Ab shell with no third, and, what I hear but the transcription misses is him playing F# in the bass after that. To me he’s just playing a classic b3 b2 1 progression but changing the quality of the b2 to be minor, making it a F#min9 he’s outlining.
Is there a reason why your transcriptions often fail to distinguish between, for instance, an F# and a Gb? I find it easier to understand long, intricate lines when I can see the harmonic direction (F# wants to resolve up to G, Gb down to F).
Sorry it is more of the energy momentum that I see in Aaron rather than innovative harmonic stractures. The melodic contour is the most important element of his style.
I find that to be true alot when I transcribe solos that sound very modern, I am always surprised that usually nothing that hormonicly innovative is being played, it's usually bebop lines that I have played a hundred times before, but the way they phrase it makes it seem deceptively hip and modern. I noticed that recently when I transcribed a little bit of Mark Turner's solo on a blues.
Sorry man nothing new here if you know Keith Jarrett... So please talk about the real creator of this kind of solo playing before you talk about the followers...
I think there’s a reason why “Modern” is in the name of this series. The people analysed are from this generation of jazz musicians. Keith Jarrett is a master for sure, but he’s outside of the scope of this series.
@@btat16 Yes but it's not "modern"... Actually this version... So you should choose more accurately what you want to present for the next generation because all the phrases you decided to put on the table where already played and much better by KJ in solo in Japan... By the way it was just a remark and basically I don't care I'm here with no intention of fame money... but from time to time as a teacher and a professional jazz pianist since 1981 I feel that I have to do something like that because I see a lot of false ideas on YT... Now again it's not against your job... Have a good day and take care...
But Keith Jarrett didn’t invent this solo, Aaron Parks did, influenced by the players that came before him. And Keith Jarrett didn’t exist in a vacuum either. Should I go back to Keith’s influences before talking about his playing? Or their influences first? Aaron is an amazing artist with an original voice on the instrument and deserves to be talked about more in my opinion. Also, ECM blocks everything Keith does so it’s off the table completely. 😂
@@SergeForte You could say the same about someone like Paul Bley's sound in Keiths playing. If you actually look at Bley's music, you see how much keith stole his style and language. What you're saying in the situation of Aaron, exists exactly in the pianists that came before Keith. Each artist does not create something from nothing, there are ALWAYS artists that come before them that feed into their own language. It's sad that some people like you just cant handle the idea of new creative artists.
I am a student of Aarons. Thank you for the appreciation and recognition you are giving him. He is a great teacher as well.
Oh and you are not to shoddy:) yourself sio that makes is even better.
I wrote half of my PhD on Aaron's music. What a player!
@@scott-flanigan is your dissertation available online. Thanks!
Aaron's improv here reminds me of Keith Jarrett's phrasing and language, flowing like a river, ideas cascading without hesitation, always reaching for the next bend. I'm quite sure Keith is definitely part of his "sources".
Have you seen his interview with Noah Kellman? It’s quite recent. He mentions Keith and one of his biggest inspirations. You can definitely hear it.
@@joshuastclairmusic Thank you! Will check the interview! Keith is my main inspiration since I started playing in 83. Since then, countless other players have come across my radar. Incredible diversity. But, for some mysterious reason, I keep going back to him, over and over.
being from Seattle, I knew Aaron when he was a kid. Amazing then. Now, I appreciate to study with him through Adam!
Deep respect!
One thing about you Adam, you are always trying to open our ears to new things
You guys should do Emmet Cohen next.
Great lesson! Thank You Adam
Much love guys! Im always exited seeing you release a new vid in this series. Really helping me develop my language as a uni student!
Thanks, Adam!
Thanks for introducing me to Parks
Best jazz channel
What a great lesson, man! Thanks for that!!
that solo is NASTY
Love this guy!
What about studying some guitar players from the piano?
It just reminds me of Michel Petrucciani.
Respect!
ADAM I like to know what you were playing live at the TRUBADOUR SOLAR
A question. Is Aaron playing what he is hearing in his head, or playing using music theory to produce those lines?
He's playing what's in his head, but he can only hear and execute it because he's internalised a certain amount of vocabulary and theory. That, combined with a deep, natural creativity.
22:30 interesting choice to use A major 9 on a C7. an A major triad alone over C would come from the half/whole scale but he seems to be implying Amaj7/B with his scale choice. side stepping?
Bud Powell is also playing a Amaj7 on a C7, it could derive from different ideas playing Gbminor7 or Barry Harris Dbminor 6 dim scale…. Or maybe some other shit who knows….
I think if you take it out of strict context (is it the diminished scale? Is it from the altered scale? Maybe both?) My guess is that a brilliant mind like Aaron’s would see that there are 4 different major triads from the dim scale, why not use them as a building block for any type of chord that could be potentially built off of a triad? Same rule would apply for minor triads and all upper structures
I think the answer is much simpler. If you notice in the bar before he plays an Ab shell with no third, and, what I hear but the transcription misses is him playing F# in the bass after that. To me he’s just playing a classic b3 b2 1 progression but changing the quality of the b2 to be minor, making it a F#min9 he’s outlining.
很棒教程艾伦怕，爱来自中国
i thought it was sped up at first
👌
Is there a reason why your transcriptions often fail to distinguish between, for instance, an F# and a Gb? I find it easier to understand long, intricate lines when I can see the harmonic direction (F# wants to resolve up to G, Gb down to F).
Sorry it is more of the energy momentum that I see in Aaron rather than innovative harmonic stractures.
The melodic contour is the most important element of his style.
I find that to be true alot when I transcribe solos that sound very modern, I am always surprised that usually nothing that hormonicly innovative is being played, it's usually bebop lines that I have played a hundred times before, but the way they phrase it makes it seem deceptively hip and modern. I noticed that recently when I transcribed a little bit of Mark Turner's solo on a blues.
Sorry man nothing new here if you know Keith Jarrett... So please talk about the real creator of this kind of solo playing before you talk about the followers...
I think there’s a reason why “Modern” is in the name of this series. The people analysed are from this generation of jazz musicians. Keith Jarrett is a master for sure, but he’s outside of the scope of this series.
@@btat16 Yes but it's not "modern"... Actually this version... So you should choose more accurately what you want to present for the next generation because all the phrases you decided to put on the table where already played and much better by KJ in solo in Japan... By the way it was just a remark and basically I don't care I'm here with no intention of fame money... but from time to time as a teacher and a professional jazz pianist since 1981 I feel that I have to do something like that because I see a lot of false ideas on YT... Now again it's not against your job... Have a good day and take care...
But Keith Jarrett didn’t invent this solo, Aaron Parks did, influenced by the players that came before him.
And Keith Jarrett didn’t exist in a vacuum either. Should I go back to Keith’s influences before talking about his playing? Or their influences first?
Aaron is an amazing artist with an original voice on the instrument and deserves to be talked about more in my opinion.
Also, ECM blocks everything Keith does so it’s off the table completely. 😂
@@adammaness Ok you did'nt get my point so I don't want to argue more I would love to explain you in live what I mean but I'm in Paris so ....:)))
@@SergeForte You could say the same about someone like Paul Bley's sound in Keiths playing. If you actually look at Bley's music, you see how much keith stole his style and language. What you're saying in the situation of Aaron, exists exactly in the pianists that came before Keith. Each artist does not create something from nothing, there are ALWAYS artists that come before them that feed into their own language. It's sad that some people like you just cant handle the idea of new creative artists.