You all need to do some more listening. Language and coherent, longer-line ideas are missing from all soloists, too much fragmented language. Think longer lines. One way to test your harmonic knowledge is to see if you can solo the whole form in just eighth notes, then triplets, then finally 16th note runs. I highly doubt any of the players here could pass the eighth note challenge. More harmonic knowledge is required, and more listening and transcribing is in order. I can also see a severe lack of vintage stylistic impressions in all players (no knowledge of content from 1950's-previous). We must understand older styles, before we can move into something that has more of a modern influence. This is a major problem with today's younger players (I know this, I'm only 27, but I study vintage jazz, and have never stopped doing so), is that they want to play with modern language, but never grasped the styles that came before, so they don't know how the more modern cats transformed what was already being done into a more modern context. In short, you must be able to play "inside" PERFECTLY before you venture into "outside" playing. What I'm hearing and seeing here is players reaching out for things which they cannot possibly grasp, given their current performance level.
otmq, I’m trying to respond to you in a way that is not going to inhibit *your* growth as a musician, and to not get into a fight, which I do not have time or energy to do, without losing steam regarding my creative projects. But I feel for these musicians and so will expose myself. You make valid points, but your comments are tainted by superiority, which makes them almost impossible to receive (by anyone). I’m just thinking of the people in this band who are obviously virtuosic players, with so much going for them musically, putting themselves out there with this upload, and being so harshly criticized, with no recognition by you of their obvious gifts and contributions to jazz. What’s the formula for comments? 80% positive 20% constructive… Your point about younger players not having a grasp of how the modern language of jazz evolved from what went before-an important concept/revelation imo-is lost in the context of your post. Don’t tase me, bruh.
@@michaelmedrick6891, Thank you. I listened to your solo on Jody Grind. It was really good. What's the name of your band? What part of the country do you live in?
Yeah, sure... Just check out the sax player's website and you'll realize how dumb your comment is... Grammy Award winner, toured with Snarky Puppy, Larry Carlton, John Mayer, Brian Blade... Oh, sorry, I forgot you're 27... Keep practicing, dude, maybe someday you'll play at such a high level. Good luck!
🤧👏👏👏👏 great bass and everybody
Professional job
🔥
Can anyone explain why the cameraman is recording everything except where the action is? The music: great!! The video: Sucks!!
at least he got the bassist right
Ma non rompe er cazzo e godite la musica.
You all need to do some more listening. Language and coherent, longer-line ideas are missing from all soloists, too much fragmented language. Think longer lines.
One way to test your harmonic knowledge is to see if you can solo the whole form in just eighth notes, then triplets, then finally 16th note runs. I highly doubt any of the players here could pass the eighth note challenge. More harmonic knowledge is required, and more listening and transcribing is in order. I can also see a severe lack of vintage stylistic impressions in all players (no knowledge of content from 1950's-previous).
We must understand older styles, before we can move into something that has more of a modern influence. This is a major problem with today's younger players (I know this, I'm only 27, but I study vintage jazz, and have never stopped doing so), is that they want to play with modern language, but never grasped the styles that came before, so they don't know how the more modern cats transformed what was already being done into a more modern context. In short, you must be able to play "inside" PERFECTLY before you venture into "outside" playing.
What I'm hearing and seeing here is players reaching out for things which they cannot possibly grasp, given their current performance level.
otmq, I’m trying to respond to you in a way that is not going to inhibit *your* growth as a musician, and to not get into a fight, which I do not have time or energy to do, without losing steam regarding my creative projects. But I feel for these musicians and so will expose myself.
You make valid points, but your comments are tainted by superiority, which makes them almost impossible to receive (by anyone). I’m just thinking of the people in this band who are obviously virtuosic players, with so much going for them musically, putting themselves out there with this upload, and being so harshly criticized, with no recognition by you of their obvious gifts and contributions to jazz. What’s the formula for comments? 80% positive 20% constructive… Your point about younger players not having a grasp of how the modern language of jazz evolved from what went before-an important concept/revelation imo-is lost in the context of your post. Don’t tase me, bruh.
Dan McKinnon There is not 1 bar on this song that even resembles the song. They're good musicians just playing a different song than titled.
@@Dtruthseek You have an awesome amount of tact. I admire that.
@@michaelmedrick6891, Thank you. I listened to your solo on Jody Grind. It was really good. What's the name of your band? What part of the country do you live in?
Yeah, sure... Just check out the sax player's website and you'll realize how dumb your comment is... Grammy Award winner, toured with Snarky Puppy, Larry Carlton, John Mayer, Brian Blade... Oh, sorry, I forgot you're 27... Keep practicing, dude, maybe someday you'll play at such a high level. Good luck!