@@mcmikah I disagree. The 1st guy sounds great (and I actually prefer his tone a little bit more than Chad’s), but Chad had much more fluid ideas and cleaner technique. He also did a much better job of playing longer phrases including phrases that connected choruses together. That’s being said, both players sound great!
Jazz is about flow of ideas and building a firstly solo, and in this song especially...Chad (second soloist) does that quite effectively.. His ideas never seem to get "stuck"..
Totally disagree. The first solo felt like hes trying to emulate the original bebop style Coltrane did originally. The second solo was modern and ambitiously driving. Both kicked ass but I appreciate the latter more.
both solos have their fare shares of the hardbop style Coltrane, its just that Chad's used different rhythms. John used a lot of 8th notes, Chad mixed it up more. I like them both equally for their own unique reasons.
Geez its like you cant find a video of someone playing Giant Steps without somebody being overly critical and negative. I made this same comment on Sean Jone's version of this song. Why do jazz snobs think this song is like the pinnacle of difficulty and that you suck at playing this song unless you do it in their percieved "perfect" way? Dont get me wrong, im tired of everyone playing giant steps at a super fast tempo and giving a very boppy solo over it, which is why Kenny Garrett's version of it that he performed at Jazz Baltica with Jeff Watts, Nat Reeves and Kenny Kirkland is my favorite Giant Steps solo of all time and one of my favorite solos of all time in general. There, Kenny breaks free from the bop style that everyone plays this song with. But i dont go around to other versions of this song criticizing professional musicians with a lot of reputable work under their belt. I may not like it as much but im not about to pick it apart. I just sit back and take it for what it is. Its just music. Goddamn.
@@thechunkytrucker5111 Well they do have that same format of high click sounding sound runs and then the low bop and then back up with halfstep arpeggios along with long held "high" altissimos on tenor...which every single instrument did that played tenor. Now trust me, I do know that when you have a certain set-up for a jazz Reed (vandorin ultimum usually) and jazz mouthpieces with the curve (selmer usually) that it gives a kinda tangy jazz bright sound that a lot of tenor crave but it really dilutes the uniquity of each improvisation and makes it all feel like the same person playing the whole time. It would be nice to implement more of the main melody and offer that key change which they just begin to gloss over and get into there own fast tempo paced lick format after a while with tricks to keep in the same key change with the same 4 or 5 notes using usually pentatonic or myxlodian or dorian scales to offer that. I would of likes more possible minor scales and staccato and glissandos with different levels of accents, volume, and even possible triplets to counterbalance the fast tempo and have a breathing moment (not for them since I'm sure they're all circular breathing..but for the status of sanity in it). The first comment addresses this and I couldn't agree more that it is a wall of sounds with different instruments hyping each other on and really getting in the powerful feel of it but then the other comment responded like some high power deity and you responded in a way that was kinda negative (makes sense, I was an idiot last year) but also misunderstood my point when I said "uhgg" because I meant it in the way of, "uhgg, I really like the song and I'm sure they all enjoyed it and had fun..but the runs lasted so long and so equal to the last"..like getting in hot water after being out in the freezing night or jumping out of a hot-tub and cannonballing into a cold pool..you feel nothing but an undesirable bland pain or what say you. Hope this cleared up my idiotic confusing and annoying remark
There's no need to compare the solos, just enjoy!!
@@mcmikah I disagree. The 1st guy sounds great (and I actually prefer his tone a little bit more than Chad’s), but Chad had much more fluid ideas and cleaner technique. He also did a much better job of playing longer phrases including phrases that connected choruses together. That’s being said, both players sound great!
Shut up nerd
Yeah right nerd
Excellent! I should practice more.
Yes sir !
I’ve just found this little gem 💎
RUclips algorithms did me a huge favour 🙏
Jazz is about flow of ideas and building a firstly solo, and in this song especially...Chad (second soloist) does that quite effectively.. His ideas never seem to get "stuck"..
Yeeaaaahhh!!!! That was so good!
The only thing missing is the Mango chutney and a side of french fries.... Sooo tasty.
I 8 THEM!
This shit's burnin! Damm Chad!
I did not know chad was in his band some years ago😳😳
they are both playing transcriptions of my solos
Is this a joke?
no
😂
xd hello john coltrane
Chad is my new hero!!! awesome...
Chad 🎷!!!
Greats both
My kind of jazz 😍
hear a little doc severnson tonight show theme a couple times in there
Chad came out guns BLAZING!! 🥵
Chaaaad!🎷🎷🎷🎵🎶
Awesome!
Hard as fuck chart!!! Fantastic job to all!!!
Yeah guys killin!!!!
Unless your name is Chris Potter, if Chad LB shows up for the gig, it’s probably best to give up your chair if you’re playing 1st tenor!
In my option is Chad like the new kenny g really. Really dont like him.
yeah chad doesn't have some of the restraint that like to hear. however, its easy to copy kenny, how many people in this world can play like chad?
@@jazzmorgan859
Wat
The solos were so nice
CHAD LB IS HERE WOOO
Great Great Great
Thanks! Just added you!
Nice tenors!!!!!
💚🌱🌸😀
Way to go JV!
Daaa-ummm!!
Bob Washut arrangement?
🙄🌱🌾💚
Niceee
The first sax solo was better! More feeling! The first guy also has a great looking horn!!!
Totally disagree. The first solo felt like hes trying to emulate the original bebop style Coltrane did originally. The second solo was modern and ambitiously driving. Both kicked ass but I appreciate the latter more.
both solos have their fare shares of the hardbop style Coltrane, its just that Chad's used different rhythms. John used a lot of 8th notes, Chad mixed it up more. I like them both equally for their own unique reasons.
First principle of jazz: if your horn don't look fire your playing will leave some to desire.
THE 2 ARE VERY COMPATIBLE!
I think they weren't comparable. Both nailed it, but neither interpretation/expression should be called 'better'
the lick at 3:10
人間辞めた？神になったなら凄い、
Uhgg, it's a bit off beat..and to be honest there is a time when bebop gets a bit tiring to listen to
Well this song is referred to as the wall of notes.. so its a lot to take in
Why’d you click the video then
Off beat ?...AHAHAHAHAHAH ^^ You little joker, what a laugh, thank you ^^
Geez its like you cant find a video of someone playing Giant Steps without somebody being overly critical and negative. I made this same comment on Sean Jone's version of this song. Why do jazz snobs think this song is like the pinnacle of difficulty and that you suck at playing this song unless you do it in their percieved "perfect" way? Dont get me wrong, im tired of everyone playing giant steps at a super fast tempo and giving a very boppy solo over it, which is why Kenny Garrett's version of it that he performed at Jazz Baltica with Jeff Watts, Nat Reeves and Kenny Kirkland is my favorite Giant Steps solo of all time and one of my favorite solos of all time in general. There, Kenny breaks free from the bop style that everyone plays this song with. But i dont go around to other versions of this song criticizing professional musicians with a lot of reputable work under their belt. I may not like it as much but im not about to pick it apart. I just sit back and take it for what it is. Its just music. Goddamn.
@@thechunkytrucker5111
Well they do have that same format of high click sounding sound runs and then the low bop and then back up with halfstep arpeggios along with long held "high" altissimos on tenor...which every single instrument did that played tenor. Now trust me, I do know that when you have a certain set-up for a jazz Reed (vandorin ultimum usually) and jazz mouthpieces with the curve (selmer usually) that it gives a kinda tangy jazz bright sound that a lot of tenor crave but it really dilutes the uniquity of each improvisation and makes it all feel like the same person playing the whole time. It would be nice to implement more of the main melody and offer that key change which they just begin to gloss over and get into there own fast tempo paced lick format after a while with tricks to keep in the same key change with the same 4 or 5 notes using usually pentatonic or myxlodian or dorian scales to offer that. I would of likes more possible minor scales and staccato and glissandos with different levels of accents, volume, and even possible triplets to counterbalance the fast tempo and have a breathing moment (not for them since I'm sure they're all circular breathing..but for the status of sanity in it). The first comment addresses this and I couldn't agree more that it is a wall of sounds with different instruments hyping each other on and really getting in the powerful feel of it but then the other comment responded like some high power deity and you responded in a way that was kinda negative (makes sense, I was an idiot last year) but also misunderstood my point when I said "uhgg" because I meant it in the way of, "uhgg, I really like the song and I'm sure they all enjoyed it and had fun..but the runs lasted so long and so equal to the last"..like getting in hot water after being out in the freezing night or jumping out of a hot-tub and cannonballing into a cold pool..you feel nothing but an undesirable bland pain or what say you. Hope this cleared up my idiotic confusing and annoying remark