All the Things you Are - confession
Vincent
other day.
I have a confession.
I love the chord progression, but I am luke warm on this melody.
There, I said it! I feel much better.
Anybody eles feel the same way?
Nicolás Delfino
do you think we´re geeks?
Nicolás Delfino
"Vincent" <blues...@comcast.net> skrev i meddelandet
news:q8Cl8.19848$4I.19...@bin4.nnrp.aus1.giganews.com...
Dean Elwood
Personally I prefer Fly Me to The Moon which I think has stronger melody,
but quite similar changes in the A theme.....
Dean
"Vincent" <blues...@comcast.net> wrote in message
news:q8Cl8.19848$4I.19...@bin4.nnrp.aus1.giganews.com...
Willie K.Yee, M.D.
You could always write your own.
--
On Tue, 19 Mar 2002 07:53:58 GMT, "Vincent" <blues...@comcast.net>
wrote:
--
Willie K. Yee, M.D. http://www.bestweb.net/~wkyee
Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org
cl...@claymoore.com
wrote:
>It's a funny thing. I was playing the chord progression to this tune the
I've always felt this tune was an almost perfect standard. The melody
is simple, but to me it's not so simple to have a melody that is
catchy and yet weaves through all those harmonic centers so
gracefully. Wayne Shorter's tunes are kind of like that; he often uses
simple pentatonic lines that nonetheless hit really hip extensions
against the changes, on tunes like El Gaucho and Witch Hunt.
Clay Moore
Nazodesu
Vincent <blues...@comcast.net> wrote:
I'm always surprised at the ones that ones that have such real "staying
power" in my mind. Such as "I've Never Been in Love Before", "Autumn
Serende", "Deixa" and others. Playing them at night is a dangerous
thing, they could be in my head for days.
Certainly All the Things You Are isn't like one of these but I really
like the melody from a jazz standpoint. It has wide skips, a repeated
nucleus that's easily decorated and as such I find myself playing
"cubist" and taking shards of the melody of into the solo--something I
don't do on many improvs, though I know it is a popular approach.
I can take it or leave it as a melody; as source material for
melody-variation solos I think it's excellent.
Bob Russell
cl...@claymoore.com wrote on 3/19/02 10:05 AM:
> I've always felt this tune was an almost perfect standard. The melody
> is simple, but to me it's not so simple to have a melody that is
> catchy and yet weaves through all those harmonic centers so
> gracefully. Wayne Shorter's tunes are kind of like that; he often uses
> simple pentatonic lines that nonetheless hit really hip extensions
> against the changes, on tunes like El Gaucho and Witch Hunt.
>
> Clay Moore
Yeah, I only hope that someday I'll write a melody that "simple". The
excellent use of sequencing, the careful combination of wide intervals and
guide tones to produce a memorable melody almost anybody can sing - simple
stuff... ;)
-- Bob Russell
http://www.uncwil.edu/people/russellr
Joey Goldstein
Dean Elwood wrote:
>
> Ditto - it's a very weak tune.
I think it's a great tune. Play it fast. Like Cherokee, because of the
simple rhythms and long durations, the melody can be played at almost
any tempo. ATTYA is a classic melody to study whether you like it or not
because it's all guide tones (3rds and 7ths, etc.). It a melody that is
very easy to embellish and to make your own or to use as thematic
material for an improvised solo.
I think the lyrics are a little sucky though. I've often wished that
many jazz standards didn't have lyrics.
--
Joey Goldstein
Guitarist/Jazz Recording Artist/Teacher
Home Page: http://www.joeygoldstein.com
Email: <joegold AT sympatico DOT ca>
Chris_S
Actually, I love "All the Things"... I'm working on "Falling Grace" a
lot, and that one I definitely don't like. The melody just doesn't
stick, unlike "All the Things" that I think was burned in after two or
three listens...
Same goes for "Ain't Misbehavin'" ... geez, written in 1929 too!
Maybe some stuff is just timeless ...
Chris, who really has no point.
On Tue, 19 Mar 2002 07:53:58 GMT, "Vincent" <blues...@comcast.net>
wrote:
>It's a funny thing. I was playing the chord progression to this tune the
Chris_S
Does anybody else think Polkadots and Moonbeams has about the best
melody and the "suckiest" lyrics?
Chris
William Barkin
rather a catchy tune IMO...
-Bill
--------------------------
William Barkin - Fine Artist
Online Portfolio
http://www.bcn.net/~wbarkin
"Vincent" <blues...@comcast.net> wrote in message
news:q8Cl8.19848$4I.19...@bin4.nnrp.aus1.giganews.com...
Paul Sawyer
friend of theirs and sometimes attended their get-togethers. At one of
these, a family member (an aspiring songwriter) talked to Jerome about
"All the Things..." and basically told him he "wasn't impressed" by
the song.
Personally, I think it's a great, great song.
DC
I came up with a substitute lyric that I use:
You are the softness of the snowfall
That paints a silent white across the dawn
You are the wandering of the river
The steady pull to carry me farther on.
You are the colors from a jazz guitar
Sublime and wonderful are what you are.
Here now, in my arms I hold you
And here now, another chance for me to find
That all the things you are are mine.
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3C976691...@nowhere.net...
Vincent
> many jazz standards didn't have lyrics.
>
Ahhhh, maybe that's it. I just can't get those lyrics out of my head
whenever I hear the melody!!
Peace
Hey, folks, don't be mad..... <g>
Ash13brook
<nicolas...@telia.com> writes:
Maybe you haven't heard a version you like, yet. Joey Goldstein made a
suggestion to me using pentatonic scales over this tune, but I didn't know it.
I have a version by Jimmy Bruno, but without knowing the tune, it was a little
hard to get the true sound of the melody for me. So, I found a few other "less
fancy" versions. I also was a little lukewarm to it. But, the Jimmy Bruno
version sounds "so cool" to me now that I'm familiar with the melody. In fact,
his version is making other versions sound better to me.Maybe, cuz after you
hear many versions, you start to appreciate the many different way others play
it. Just a thought.
Bob Agnew
in the March 2002 issue of "Guitar One".
"Vincent" <blues...@comcast.net> wrote in message
news:q8Cl8.19848$4I.19...@bin4.nnrp.aus1.giganews.com...
Joe Finn
news:q8Cl8.19848$4I.19...@bin4.nnrp.aus1.giganews.com...
the A and A' and a nice contrasting ascent to begin the B that mirrors the
descending theme before setting up a concluding A section. Like Brother
Goldstein said this one really blossoms as an uptempo statement. This is a
concise, economical, symmetrical and elegant melody. I can't imagine why you
fail to appreciate it's profundity especially given the harmonic context.
To me this is one of those bulletproof standard tunes that tends to elevate
the performance of anyone and everyone who plays it. It that strong. Play it
again. It will make you sound good.
........joe
Visit me on the web. www.JoeFinn.net
-----= Posted via Newsfeeds.Com, Uncensored Usenet News =-----
http://www.newsfeeds.com - The #1 Newsgroup Service in the World!
-----== Over 80,000 Newsgroups - 16 Different Servers! =-----
Home
"Vincent" <blues...@comcast.net> wrote in message
news:q8Cl8.19848$4I.19...@bin4.nnrp.aus1.giganews.com...
Dan Adler
> It's a *great* melody. Big intervals that cascade through their descent in
> the A and A' and a nice contrasting ascent to begin the B that mirrors the
> descending theme before setting up a concluding A section.
In case people hadn't noticed, both the A and B parts of the melody
revolve around the 3rds of the respective chords - so the melody and
harmony are really the same thing. Also, the way Kern solves the
movement from E back to Fm through the G#/Ab common tone is the
highlight of the song for me.
There is now another thread where someone doesn't like another great
melody.
I thought everyone would like to know that I like the color red, but I
don't like beets.
a wandering frank
"Ash13brook" <ash13...@aol.com> wrote in message
news:20020319213415...@mb-mf.aol.com...
You may not like the straight head as written the first time *you* take a
stab at it. My own confession is that I almost got sick of the tune because
it was one of the first tunes that we learned/abused in a multi-instrumental
beginning improv class. Precisely because the melody is so valuable for
newer players, built off the guide tones as it is.
Now I love it, and here's why: I strongly suggest giving Bird's version a
listen if you want inspiration on how hip it can be. Hard to get his
version out of your head. As has been said on this ng a million times
before, most tunes only suck until you hear someone take the tune seriously
and do a killer version of it, exploring territory you didn't previously
think of.
There is nothing we can do to salvage tunes like Achy Breaky Heart, however,
so don't even ask. :)
Frank
Bob Agnew
entitled "My Love Afair with the Piano". I heard him live at Poway a few
months ago and he is as amazing on the piano as he is on Fluggle and
Timbales.
"Vincent" <blues...@comcast.net> wrote in message
news:q8Cl8.19848$4I.19...@bin4.nnrp.aus1.giganews.com...
Vincent
most of the week. It is very interesting and challenging, even though I am
not in love with the melody. <g>
"Bob Agnew" <rag...@cox.net> wrote in message
news:Ir9n8.67354$Es6.1...@news2.west.cox.net...
Jimmy Bruno
mind 180 degrees
Thom j.
I dont think most mainstream non'music types have a clue of how
great this lady is! Also her vocal range & timbre! Wow!! Anyway
I concur with you :) thom_j.
P.S. how are ya doin' Jimmy? I didnt call you as I felt you have
been too busy and I am well aware your career & family comes
first.. Any I hope all is well! :)
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message
news:B8C405DA.691%ji...@jimmybruno.com...
Thom j.
I dont think most mainstream non'music types have a clue of how
great this lady is! Also her vocal range & timbre! Wow!! Anyway
I concur with you :) thom_j.
P.S. how are ya doin' Jimmy? I didnt call you as I felt you have
been too busy and I am well aware your career & family comes
first.. Any I hope all is well! :)
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message
news:B8C405DA.691%ji...@jimmybruno.com...
Joey Goldstein
--
Max Leggett
There's a guitar player in New Orleans called George Guesnon. Dead now
unfortunatly, but friends went to visit him in the 70s. They expected
a stack of jazz LPs. It was all Lawrence Welk - loved the guy,
listened to nothing else. Wouldn't know it from listening to his
playing.
Dan Cooper
"Max Leggett" <spams...@else.com> wrote in message
news:3c9f5a17...@news.sprint.ca...
> >Don Thompson likes Barbara Streisand a lot too. Personally I don't see
it.
>
> There's a guitar player in New Orleans called George Guesnon. Dead now
> unfortunatly, but friends went to visit him in the 70s. They expected
> a stack of jazz LPs. It was all Lawrence Welk - loved the guy,
> listened to nothing else. Wouldn't know it from listening to his
> playing.
>
I don't get the analogy. Is Barbra Streisand supposed to be as square as
Lawrence Welk? My mother used to listen to Streisand, but my *grandfather*
dug Welk. Anyway, I think she had a great voice. Funny thing is, although
most of the artists I hear singing this tune are female, I believe it was
sung by a male in the original Kern/Hammerstein production.
Dan
Jimmy Bruno
version. Great arrangements by great musicians...Peter Matz for one. Also,
perfect melodies. I cannot see how anyone could not like her voice. she is
not a jazz singer...
Tom Walls
d...@danadler.com says...
> I thought everyone would like to know that I like the color red, but I
> don't like beets.
>
You must be nuts -- beets are great! I'd never eat one, though.
--
Tom Walls
the guy at the Temple of Zeus
http://www.arts.cornell.edu/zeus/
Thom j.
the quality, timbre and range that Barbara Streisand has... If you
listen to just any of her ballads they have almost a 'bell' like ring
in her voice.. "O" well, I clearly hear it anyway.. :)
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message
news:B8C51B69.739%ji...@jimmybruno.com...
Thom j.
"Tom Walls" <tw...@REMOVEcornell.edu> wrote in message
news:MPG.1709368ce...@newsstand.cit.cornell.edu...
Joey Goldstein
Jimmy Bruno wrote:
>
> The Barbara Streisand recordings have great changes that are the correct
> version. Great arrangements by great musicians...Peter Matz for one. Also,
> perfect melodies. I cannot see how anyone could not like her voice. she is
> not a jazz singer...
Right. Don's into the sound of her instrument and her phrasing. I think
she's very very good and does have a great instrument but I'm not so
wild about her phrasing or her choice of material. I was much more
impressed by her in her early years though than I am now.
a wandering frank
"Tom Walls" <tw...@REMOVEcornell.edu> wrote in message
news:MPG.1709368ce...@newsstand.cit.cornell.edu...
> d...@danadler.com says...
>
> > I thought everyone would like to know that I like the color red, but I
> > don't like beets.
> You must be nuts -- beets are great! I'd never eat one, though.
Tom, dood, eat your beets, they're good stuff. Only catch is, they make you
pee funny.
Frank
Thom j.
am in awe with her instrument.. :)
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3C9F78EF...@nowhere.net...
Vincent
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message
news:B8C405DA.691%ji...@jimmybruno.com...
Jimmy Bruno
The Nearness of YOu' They are all on the same cd "Simply Striesand"
Thom j.
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message
news:B8C5A4D3.7A7%ji...@jimmybruno.com...
Carl Greeff
>Jimmy Bruno wrote:
>>
>> The Barbara Streisand recordings have great changes that are the correct
>> version. Great arrangements by great musicians...Peter Matz for one. Also,
>> perfect melodies. I cannot see how anyone could not like her voice. she
>is
>> not a jazz singer...
>
pmfan57
checking out the two greatest singers of those types of songs: Frank
Sinatra and Ella Fitzgerald. Ella recorded All the Things... on her
Jerome Kern Songbook album and it's wonderful. Frank Sinatra recorded
it in his Columbia records days, before he developed the swingin'
"Ring a ding ding" genuis of the Capitol years, but it's still a
wonderful version. I haven't heard BS's version but she did look
better than Paltrow. What was Gwynnie thinking????
Joey Goldstein
Maybe they've been using a body double in all her movies?
thomas
> Dito on lyrics!
> Does anybody else think Polkadots and Moonbeams has about the best
> melody and the "suckiest" lyrics?
Green Dolphin Street is right up there.
> Chris
>
> On Tue, 19 Mar 2002 11:25:56 -0500, Joey Goldstein
> <nos...@nowhere.net> wrote:
>
> >
> >
> >Dean Elwood wrote:
> >>
> >> Ditto - it's a very weak tune.
> >
> >I think it's a great tune. Play it fast. Like Cherokee, because of the
> >simple rhythms and long durations, the melody can be played at almost
> >any tempo. ATTYA is a classic melody to study whether you like it or not
> >because it's all guide tones (3rds and 7ths, etc.). It a melody that is
> >very easy to embellish and to make your own or to use as thematic
> >material for an improvised solo.
> >
> >I think the lyrics are a little sucky though. I've often wished that
> >many jazz standards didn't have lyrics.
> >
> >> Personally I prefer Fly Me to The Moon which I think has stronger melody,
> >> but quite similar changes in the A theme.....
> >>
> >> Dean
> >>
> >> "Vincent" <blues...@comcast.net> wrote in message
> >> news:q8Cl8.19848$4I.19...@bin4.nnrp.aus1.giganews.com...
> >> > It's a funny thing. I was playing the chord progression to this tune the
> >> > other day.
> >> >
> >> > I have a confession.
> >> >
> >> > I love the chord progression, but I am luke warm on this melody.
> >> >
> >> > There, I said it! I feel much better.
> >> >
> >> > Anybody eles feel the same way?
> >> >
> >> >
> >
thomas
> "Joe Finn" <J...@joefinn.net> wrote in message news:<3c983...@corp.newsgroups.com>...
> > It's a *great* melody. Big intervals that cascade through their descent in
> > the A and A' and a nice contrasting ascent to begin the B that mirrors the
> > descending theme before setting up a concluding A section.
>
> In case people hadn't noticed, both the A and B parts of the melody
> revolve around the 3rds of the respective chords - so the melody and
> harmony are really the same thing. Also, the way Kern solves the
> movement from E back to Fm through the G#/Ab common tone is the
> highlight of the song for me.
Yeah, that modulation is way hip. Kern uses the exact same strategy
coming out of the bridge on The Song Is You, another great one.
Paul Sanwald
--paul
a wandering frank
:-x
I'm the last person to be a fashion critic and really wouldn't know most
ugly Oscar clothing from the good stuff, unless Cher's in attendance to help
me out, but good god, don't the stars--after all these years of dress
rehearsals--do trial runs with their outfits before the show? And surely
there's at least one person in the peanut gallery beforehand with the
courage to say, "Gwyneth...that sucks" ?
Bleeah. Maybe that person was too busy losing his cookies, like me.
Frank
"Carl Greeff" <cwgr...@aol.comnojunk00> wrote in message
news:20020326013753...@mb-fp.aol.com...
pmfan57
> pmfan57 wrote:
> >
> > For the melody and lyrics of any great standard, it's always worth
> > checking out the two greatest singers of those types of songs: Frank
> > Sinatra and Ella Fitzgerald. Ella recorded All the Things... on her
> > Jerome Kern Songbook album and it's wonderful. Frank Sinatra recorded
> > it in his Columbia records days, before he developed the swingin'
> > "Ring a ding ding" genuis of the Capitol years, but it's still a
> > wonderful version. I haven't heard BS's version but she did look
> > better than Paltrow. What was Gwynnie thinking????
>
> Maybe they've been using a body double in all her movies?
Her face looked great as usual. but that strange blouse! Now Nicole
Kidman looked pretty yummy in her dress.
RWFENDER
recently bought the Ken Burns Sonny Rollins CD and Sonny did All The Things You
Are too. Inside the lyric sheet it said it was the Jerome Kern version, but
the melody seemed totally different to my ears. Is this a totally different
version? Anyone ever heard Sonny Rollins do All The Things You Are?
Dan Adler
That's from "Sonny meets Hawk" - one of the most important records
that most people don't know. Coleman Hawkins takes the melody, and
it's absolutely the same melody with some classic Hawk embelishments.
Hawk also takes the first solo. The pianist on that date is Paul Bley,
which makes for an interesting contrast starting on the piano solo.
Sonny plays pretty "out there" as well on his solo probably inspired
by Bley. This is one of the most avant-garde I've ever heared Sonny
(and it's from 1963). They don't play the head on the way out.
Tom Walls
d...@danadler.com says...
asked how he happened to play so far out at that session when he was
known as a Hawkins-type player, and he said that he wanted to be sure
that he played something Bean didn't play.
Tom Lippincott
>> that most people don't know. Coleman Hawkins takes the melody, and
>> it's absolutely the same melody with some classic Hawk embelishments.
>> Hawk also takes the first solo. The pianist on that date is Paul Bley,
>> which makes for an interesting contrast starting on the piano solo.
>> Sonny plays pretty "out there" as well on his solo probably inspired
>> by Bley. This is one of the most avant-garde I've ever heared Sonny
>> (and it's from 1963). They don't play the head on the way out.
>>
>> -Dan
>> http://danadler.com
>> http://danadler.iuma.com
>>
>I was just reading in "Birth of Bebop" by Scott Deveaux that Sonny was
>asked how he happened to play so far out at that session when he was
>known as a Hawkins-type player, and he said that he wanted to be sure
>that he played something Bean didn't play.
>--
>Tom Walls
>the guy at the Temple of Zeus
>http://www.arts.cornell.edu/zeus/
>
I've read a quote from Pat Metheny that that version of ATTYA, particularly
Paul Bley's solo, was a big influence on him.
Tom Lippincott
Guitarist, Composer, Teacher
audio samples, articles, CD's at:
http://www.tomlippincott.com
a wandering frank
"Tom Walls" <tw...@REMOVEcornell.edu> wrote in message
> I was just reading in "Birth of Bebop" by Scott Deveaux that Sonny was
> asked how he happened to play so far out at that session when he was
> known as a Hawkins-type player, and he said that he wanted to be sure
> that he played something Bean didn't play.
Hey, how do you like that book? I haven't read it, but Scott Deveaux is on
the Music Dept. faculty here at my U., that is Univ. of Virginia. A bit of
a shy academic, but full of great anecdotes (and a hilarious Miles
imitation) when he teaches "History of Jazz." I had him for that class, god,
maybe twelve years ago now? time to get out of graduate school...:). A
very good piano player, too, as I recall.
Frank
Tom Walls
mit...@TAKETHISOUTearthlink.NOTHIN'BUTnet says...
Heavily footnoted, rife with musical examples, thematically coherent. He
uses Coleman Hawkins' career as a case study of a progressive in jazz.
Doug Bell
"Vicky's Dream". It's on "Easy Like" and also on a compilation "The Artistry
of Barney Kessel". A little tough to sing in the shower but it swings like
mad. Bud Shank on the session too. Got to love Barney on this one. Doug
in article u9evroe...@corp.supernews.com, William Barkin at
wba...@bcn.net wrote on 3/19/02 10:11 AM:
> When played up tempo...say 240+ with some tasteful melody embellishment, its
> rather a catchy tune IMO...
>
> -Bill
>
> --------------------------
> William Barkin - Fine Artist
> Online Portfolio
> http://www.bcn.net/~wbarkin