Joe Pass video
Max Leggett
by it. I had been hoping for a discussion/demonstration by Joe of his
single lines, but he talks about basic chord voicings and rudimentary
voice leading. At the Hot Licks site the video was rated a 3-4, which
I thought meant a fairly advanced tape, but I'd rank it as
novice-intermediate. If anyone would like the tape, 20 bucks +
shipping.
Jon Fox
Well...After that pitch, who could resist??!?!
:-)
Dan Adler
a ten.
Better yet, get the good old dependable 'Joe Pass Guitar Style' book,
which is the best book I know on Bebop Jazz Guitar. If you buy it from
Carol Kaye's web site you can also get the cassette that goes with it
which no one else carries. The link is on my website.
Regards,
-Dan Adler
http://danadler.com
mlegget@no_bs.ca (Max Leggett) wrote in message news:<3b6842be...@news.sprint.ca>...
Nazodesu
<mlegget@no_bs.ca> wrote:
Someone just loaned a number of jazz video tapes to me. I saw the Pass
thing and was frankly stunned at how generally unprepared he seems.
The information is vague and muddled. I was impressed at how bad it
was.
--
The storm starts when the drops start dropping. When the drops stop dropping
the storm starts stopping.
Dan Adler
old Joe Pass solos from the 60's (You can find "Night and Day" from
the For Django album transcribed on my web site) - you would know that
Joe Pass was in a class of his own in terms of mixing musical
intuition with harmonic mastery in his solos. So, for me, just seeing
how his mind and personality work is a great benefit.
The fact that he is not as analytical as you would expect and tends to
simplify things when he talks about them is a lesson in itself.
The 'Jazz Lines' video is an amazing resource in terms of peeking into
this guy's analytical mind, but even there you have to watch what he
does more than what he says. There's a funny point in the video where
he says that he hardly ever plays or thinks of arpeggios, and in the
exact next line he plays a cmaj9 arpeggio.
There is also a video called 'The Genius of Joe Pass' or something
like that, which has two clips from the 60's where Joe plays a Fender
Jaguar on 'The Song is You' and 'Sonnymoon for Two'. Those two clips
by themselves are worth their weight in gold.
If you are not familiar with Joe's work in the 60's check out:
http://danadler.com/jazz/solos/
Regards,
-Dan
http://danadler.com
Nazodesu <22...@home.com> wrote in message news:<010820012107248851%22...@home.com>...
Nazodesu
<dan....@gs.com> wrote:
> Actually, I find the opposite. If you have ever transcribed any of the
> old Joe Pass solos from the 60's (You can find "Night and Day" from
> the For Django album transcribed on my web site) - you would know that
> Joe Pass was in a class of his own in terms of mixing musical
> intuition with harmonic mastery in his solos.
I was talking about his playing, which I admire. I was talking about
his rambling, vague and generall unprepared approach to an
instructional video. I'm not even sure he wouldn't be an excellent
teacher when faced with a specific student with specific needs. I was
just talking about the video.
Additionally, to cut him even more slack, it was done early in the
instructional video field, if I'm not mistaken.
Max Leggett
>thing and was frankly stunned at how generally unprepared he seems.
>The information is vague and muddled. I was impressed at how bad it
>was.
He didn't present anything that gave me an insight into how he
thought, which is what I was looking for. He just went through the
motions and rambled semi-coherently.
Bill Bairley
forgets the point he's making; it's hilarious. He's obviously drunk or
stoned. Great playing, of course.
--
Bill Bairley
Bad Bear Studios
www.mp3.com/billbairley
"Max Leggett" <mlegget@no_bs.ca> wrote in message
news:3b697211...@news.sprint.ca...
Nazodesu
Bairley <bad...@cfl.rr.com> wrote:
> On Joe's tape he did for Hot Licks, called 'Solo Jazz Guitar' he constantly
> forgets the point he's making; it's hilarious. He's obviously drunk or
> stoned. Great playing, of course.
That's the tape I watched. I don't think he's "modified". I met and
spoke with him on a few occasions and thought he was just slightly
goofy. Nothing intense or humiliating. No more or less than most horn
players I've met.
On the good side you know and can tell from the tape that he's direct
about his thinking and playing. On many occasions he says, "Ah, I
don't think much about [concept]." He doesn't. And he doesn't need
to.
I'm thinking of Coryell now, and he too is a nice guy, but a little
goofy. I hope that's not heard as mean, condescending or anything. I
don't mean it that way. I only met him once but we did hang for an
hours or so.
thomas
he necessarily had to be drunk or stoned to be incoherent. I think that
was part of his personality and sense of humor. He thought it was funny
that guys were asking him complex theoretical questions about something
that was so simple and obvious to him. Sometimes he enjoyed acting the
naif at one level, and then blowing you away with his playing and musicality.
Other times he would take the lesson more seriously and try to translate what
he was doing into theoretical terms, but I don't think he ever took theory
all that seriously.
Just to watch and listen to a guy like that play is lesson enough. He
probably wasn't thinking of anything in particular, just making music,
and so there's really not much for him to say about it. Just watch and
listen. Copping eight bars of a JP solo will teach you far more about
his musical thinking than anything he could have said in the video.
"Bill Bairley" <bad...@cfl.rr.com> wrote in message news:<Iqga7.72390$o01.11...@typhoon.tampabay.rr.com>...
Jurupari
to some extent: the instincts used to explain a playing passage is so far
removed from the ones used to play it that it requires an entirely different
mindset.
If I had to stay in the "playing mode", my explanations would probably be
pretty detatched. On the other hand, when I'm trying to draw on an example of
something to demonstrate a point for a student, it isn't felt the same way and
usually isn't as musical since it isn't born out of the same instinct.
You could almost see the wheels go around in Joe's head when he was improvising
chordally, or contrapuntally but it was obvious he wasn't really aware of the
machinery, just using the output. It's sort of hard to explain, but even when
he was playing "block" chords, he was creating contrary motion, and I remember
hearing things that I'm sure were done for the first time. Again, it's hard to
explain, but the logic screams at you as loudly as the music was beautiful.
Being able to see it too is what made that happen for me - it was worth a dozen
years of lessons to be able to watch that unfold up close.
Regards,
Clif Kuplen
Fingerstyle solo jazz and theory at my website: http://members.aol.com/jurupari