Thanks for tuning in, and I'm glad that you enjoyed this. Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Hi Jeff. Yes... it's finger gymnastics on the bass. LOL try doing the phrases with different fingerings too. starting with different fingers, and up and down on one string, or 2 strings etc. This will really help your technique and learn the neck. cheers. How were the toronto gigs with Ted Warren?
I never thought of "Donna Lee" as traumatizing. To me, "Confirmation" was the hard one. Last year, I spent two months learning "Confirmation" off of a Dexter Gordon album, not writing anything down, and practicing sections of the chord changes. I still can't play it as fast as Charlie Parker, but I can now play it at a good medium tempo.
Your approach is in the spirit of a philosophy which I think was expressed in the book Effortless Mastery (which I paraphrase from memory). The goal is play it perfectly, play it fast, play the whole thing. But not all at once. So first learn a piece of it slowly until you can do it perfectly, then add another piece slowly....then when you can play the whole thing, start to think about speed. It took me months to learn this head on the guitar, and I am still not happy with it, years later. The problem on the guitar is that there are so many choices for how to finger each phrase. For example, on a guitar, there are 5 places (6 if you want to venture outside of practicality) to play E above middle C. If you watch videos of guitarists playing this, you will never see it the same way twice.
Hi Jeff, I just subscribed to your Channel. I have a question, Although I am playing piano and taking lessons, I heard a rumour about Generic Modality Compression, It is till now never signalled in the piano/saxophone realm(not that it is an alien species persé)what my question, could you give us a lesson in your view f that subject? I liked the way how you improvised over Donna Lee it sounded ver enthusiastic and you where really improvising, how nice you took the motives over the barline and even used part of the theme a few times, really inspiring, and I am going to try to seek it out. This is an example of GMC what I learned from a guitar player: on a Dom7 Bb7 for instance: Gb B E(is one cell. or one Triad made not 135) The other Triad: Db Ab D. There was one other lick: over Bb7 as well: Ab Db Cb > D Gb Fb for me is the difficult how to play those to make music out of them...
Man, I have NO CLUE what the heck that is!!! It sounds like it is a term invented by a jazz theory person with three degrees, and working on a fourth. Can you explain it to us? I 100% guarantee it's known or thought or by a different name. I just haven't heard that one before.
Is it ok to disagree? I've finally had enough of jazz. Bought 'four for trane' by archie Shepp when it came out. 50 yrs ago. Got all the dexter/getz/coltrane/etc. Give me dave Bartholomew any day.
Jeff is a good teacher special
Thanks for tuning in, and I'm glad that you enjoyed this. Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Great lesson! Also, a really great solo that you played.
You nailed it beautifully Jeff, very cool 😎🎷👍 thanks.
Thanks for tuning in, as always. Hope you give this a try!
Hi Jeff. Yes... it's finger gymnastics on the bass. LOL try doing the phrases with different fingerings too. starting with different fingers, and up and down on one string, or 2 strings etc. This will really help your technique and learn the neck. cheers. How were the toronto gigs with Ted Warren?
Great ideas, brother! Man, the gig in Toronto with Ted was fantastic. We had such a good band . . . dang! Thanks for tuning in.
Só nice. Congrats for your excelent work. All the best and never stop
Thank you so much 😀 I appreciate you taking the time to write Francisco.
Cool! I heard the Sonny Stitt Minor Lick in your solo. Another great lesson, Jeff!
Right!? I more or less fit it in there. So cool that you were able to hear it. See you inside www.JazzWire.net, Richard. Love working with you there!
@@JeffAntoniukEducator "right!?" Didn't you know you played it? :)
I never thought of "Donna Lee" as traumatizing. To me, "Confirmation" was the hard one. Last year, I spent two months learning "Confirmation" off of a Dexter Gordon album, not writing anything down, and practicing sections of the chord changes. I still can't play it as fast as Charlie Parker, but I can now play it at a good medium tempo.
There is no jazz without trauma, I suppose! Thanks for tuning in, John.
Your approach is in the spirit of a philosophy which I think was expressed in the book Effortless Mastery (which I paraphrase from memory). The goal is play it perfectly, play it fast, play the whole thing. But not all at once. So first learn a piece of it slowly until you can do it perfectly, then add another piece slowly....then when you can play the whole thing, start to think about speed.
It took me months to learn this head on the guitar, and I am still not happy with it, years later. The problem on the guitar is that there are so many choices for how to finger each phrase. For example, on a guitar, there are 5 places (6 if you want to venture outside of practicality) to play E above middle C. If you watch videos of guitarists playing this, you will never see it the same way twice.
Thanks for this, Jeff. Yes, taking our time is counter intuitive, but it is THE way to go!
Hey Jeff, would you please share your mouthpiece/reed setup? Thanks.
Of course. This is a Ted Klum "Florida", a Rovner "Van Gogh" ligature, and Gonzalez "Local 627" reeds (3 1/2). Hope that helps!
Thanks again, Jeff.
Haha - I've been working on this for the past few days!
Excellent, Glen. You are doing great work at www.JazzWire.net. Can't wait to hear it.
Hi Jeff, I just subscribed to your Channel. I have a question, Although I am playing piano and taking lessons, I heard a rumour about Generic Modality Compression, It is till now never signalled in the piano/saxophone realm(not that it is an alien species persé)what my question, could you give us a lesson in your view f that subject? I liked the way how you improvised over Donna Lee it sounded ver enthusiastic and you where really improvising, how nice you took the motives over the barline and even used part of the theme a few times, really inspiring, and I am going to try to seek it out. This is an example of GMC what I learned from a guitar player: on a Dom7 Bb7 for instance: Gb B E(is one cell. or one Triad made not 135) The other Triad: Db Ab D. There was one other lick: over Bb7 as well: Ab Db Cb > D Gb Fb for me is the difficult how to play those to make music out of them...
Man, I have NO CLUE what the heck that is!!! It sounds like it is a term invented by a jazz theory person with three degrees, and working on a fourth. Can you explain it to us? I 100% guarantee it's known or thought or by a different name. I just haven't heard that one before.
Is it ok to disagree? I've finally had enough of jazz. Bought 'four for trane' by archie Shepp when it came out. 50 yrs ago. Got all the dexter/getz/coltrane/etc. Give me dave Bartholomew any day.
I just love that you are disagreeing about jazz, as you comment on a jazz video!! It's hard to get away from, right!!??
@@JeffAntoniukEducator LOL!
Isn't it possible to like Dave Bartholomew and Charlie Parker at the same time?