I wish you could pick just 3 standards but, as I found out, you really should know many more and probably more important to know some of the common themes that repeat in many of the songs as well as songs where the bass has specific parts that are expected. It's intimidating so build a play list to listen to all the songs over and over again then start working with one song at time and build. There are some songs (ie all blues, night in tunusia, so what, all the things you are, footprints, Stolen Moments, Equinox)where you need to know specific riffs/lines for either intros or to accompany the melody so you want to work them out. There are also some songs that have different changes for the head than for the solos (stolen moments, Goodbye Pork Pie Hat). Then there are many variations of rhythm changes, especially in bars 5-6 of the A section so it's worth while working through some of the common variations (I got rhythm, anthropology, oleo, dexterity, moose the mooche) and learning some of the melodies. It's worthwhile to learn the changes (and melody....) for many common jazz blues heads both major and minor blues: (Blue Monk, Straight No Chase, Mr PC, Blues for Alice, Birks Works, Blues in the Closet, C jam blues, Freddie Freeloader, Now's the Time, Tenor Madness, Watermelon Man, Sandu, West Coast Blues, Equinox)
@@DiscoverDoubleBass I should have mentioned another thing. There are certain jumps in harmony that are not strictly in functional harmony (or straight forward series of ii-V's or always remaining diatonic in the key) but they occur all over place, especially in songs form the Great American Song book. The first 4 bars of Out of Nowhere have a jump to a ii-V that is a minor 3rd up from the tonic. Many songs (Stella by Starlight, Do Nothing Until you hear from Me) do something called the backdoor dominant (they do a minor 4 chord and a dominant 7 a whole step below the tonic, sometimes they only do one of them. Other songs start cycles of ii-V's that start on the #11 and work back to the tonic, often adding a 1/2 step jump to resolve back to the tonic. So while it's really important to learn whole songs it's probably just as important to recognize these chord changes (how they sound, variations of them, and how to play them). It will help you memorize sections of songs much easier when you can categorize these things. Lastly John Goldsby rules! Great intrepretation of the melodies!
All the things you are alone will give you a lifetime of studymaterial... I would have picked Body & Soul as well, and maybe I would have picked Cherokee above Autumn Leaves...
Gotta have a rhythm changes tune in there! Also Dizzy Gillespie's version of all the things you are with the Slam Stewart arco solo is one of my favorite recordings.
Great selections! I would learn Autumn Leaves in both E Minor and G Minor (The Cannonball Adderley version is in G Minor). Body & Soul is good for becoming comfortable in D Flat (another one is Stompin' At The Savoy). A standard I would add is Someday My Prince Will Come (in B Flat). It is good to learn a song in waltz time. Of course the Bill Evans' version is the one to listen to. Exquisite arco technique Mr. Goldsby. Thanks.
I wish you could pick just 3 standards but, as I found out, you really should know many more and probably more important to know some of the common themes that repeat in many of the songs as well as songs where the bass has specific parts that are expected. It's intimidating so build a play list to listen to all the songs over and over again then start working with one song at time and build. There are some songs (ie all blues, night in tunusia, so what, all the things you are, footprints, Stolen Moments, Equinox)where you need to know specific riffs/lines for either intros or to accompany the melody so you want to work them out. There are also some songs that have different changes for the head than for the solos (stolen moments, Goodbye Pork Pie Hat). Then there are many variations of rhythm changes, especially in bars 5-6 of the A section so it's worth while working through some of the common variations (I got rhythm, anthropology, oleo, dexterity, moose the mooche) and learning some of the melodies. It's worthwhile to learn the changes (and melody....) for many common jazz blues heads both major and minor blues: (Blue Monk, Straight No Chase, Mr PC, Blues for Alice, Birks Works, Blues in the Closet, C jam blues, Freddie Freeloader, Now's the Time, Tenor Madness, Watermelon Man, Sandu, West Coast Blues, Equinox)
Great advice!
@@DiscoverDoubleBass I should have mentioned another thing. There are certain jumps in harmony that are not strictly in functional harmony (or straight forward series of ii-V's or always remaining diatonic in the key) but they occur all over place, especially in songs form the Great American Song book. The first 4 bars of Out of Nowhere have a jump to a ii-V that is a minor 3rd up from the tonic. Many songs (Stella by Starlight, Do Nothing Until you hear from Me) do something called the backdoor dominant (they do a minor 4 chord and a dominant 7 a whole step below the tonic, sometimes they only do one of them. Other songs start cycles of ii-V's that start on the #11 and work back to the tonic, often adding a 1/2 step jump to resolve back to the tonic. So while it's really important to learn whole songs it's probably just as important to recognize these chord changes (how they sound, variations of them, and how to play them). It will help you memorize sections of songs much easier when you can categorize these things. Lastly John Goldsby rules! Great intrepretation of the melodies!
F in the chat for Scott LaFaro.
Great interview with John!
All the things you are alone will give you a lifetime of studymaterial... I would have picked Body & Soul as well, and maybe I would have picked Cherokee above Autumn Leaves...
Gotta have a rhythm changes tune in there! Also Dizzy Gillespie's version of all the things you are with the Slam Stewart arco solo is one of my favorite recordings.
1. All the things you are
2. Autumn Leaves
3. Body & Soul
Great selections! I would learn Autumn Leaves in both E Minor and G Minor (The Cannonball Adderley version is in G Minor). Body & Soul is good for becoming comfortable in D Flat (another one is Stompin' At The Savoy). A standard I would add is Someday My Prince Will Come (in B Flat). It is good to learn a song in waltz time. Of course the Bill Evans' version is the one to listen to. Exquisite arco technique Mr. Goldsby. Thanks.
Great choices!
Three great tunes, I always think 'How High the Moon' should be up there too
agreed! Such a great piece.
Fly me to the moon
The days of wine and roses
Autumn Leaves
I need that F key pin for my shirts!
👏🏻Bravo
Mr. P.C. is an essential.
Great tune!
That bass of yours sounds SO good! Lucky you, Geoff!
great!
Thanks for watching Don! :-)
Nice !
Bass God
yeah! Autumn Leaves on somethin' else is the first standard I learned!!
Great recording!