Bernstein knows exactly what hes doin here, very deliberate phrasing and spacing. I love it, so refreshing to hear someone not just tearing into the tune like they have something to prove. He's obviously been reading the Tao Te Ching.
Yes, the phrasing and spacing is deliberate and quite tasteful. What people don't like is the lack of (or not enough of) rhythmic development and harmonic interest. Compare with the first 40 seconds or so of Brad's solo and he has that lovely sense of space and phrasing Bernstein had but he's also far more comfortable over the complex changes and expresses more ideas.
There's no tentativeness here. Bernstein is not playing notes, or the guitar, he is playing the song, the groove, he is playing the band. Riding and amping up the pulse, dropping the sounds in the cracks of the pulsing rhythms, in just right places, beautifully. listen to the last minute of his solo. just "whew!!".. If you can't hear that, sorry.
Jazz Masters make it look so easy. What's with the jerk who posted he doesn't like Peter's guitar solo?Peter's solo is brilliant and is one of the best guitar players on the planet.
Wow! Thanks for noticing it! It means a lot as he is an adept of master Thích Nhất Hạnh, one of the most relevant teachers of Buddhism in modern times….I don’t know if is posible to play like this without the proper level of awareness…and I mean all of them🙌
I've been listening to this recording for six years or however long it's been up on RUclips (here or elsewhere) and I've always loved PB's playing here. As someone else said, he lets the tune BREATHE.
I had the impression of this tune that it’s very much about breathing, each person seems to have their places but staggered as if breathing in response to the melody/rhythms, although Drums and base are very very aligned to keep defending the complex rhythm structure.
We already got too many wannabe emperors, can we go with Roman Consul? Lets just say its in the fingers, heart, soul and ears. But doesn't it have to be first in the fingers? Sometimes gold rains down, and some of us be payin' attention.
If his time was "kinda whack" he wouldn't be on stage with these guys. Go practice with a metronome for a couple of years then give another listen. GTFOH
it's insane to call pb anything other than masterful, and this solo is no different. great control and purity. the use of space is incomparable, ideas lift into the air and float, completely naked and exposed. nothing tentative about it; it's masculine, confident playing. and it's the perfect compliment to brad imo.
Have to disagree. Yes, the phrasing and use of space is nice at first but also becomes extremely repetitive and it's clear he's struggling with these changes. Brad composed Buddha Realm that year in 2006 so if I had to take a guess, Bernstein hadn't had time to get comfortable with these changes yet. I'm not ragging on Bernstein, I just think that on this particular tune he was struggling to get out his ideas even though the ones he played were good.
@@UkuleleAversion tbh these changes sound really hard to pick up. Prob one of the hardest jazz tunes ive heard in that respect, not only is the harmonic movement complicated but also the harmonic rhythm
@Karel Cuelenaere ROIO Archive... I know its been 3 yrs since your comment so maybe youve had some time to listen again and rethink your comment. bernstein's playing on this song reflects an intimate understanding of the harmony of the tune as his playing always does.. perhaps your ears were having trouble the day you made that comment. bernstein plays the best notes and has the best phrasing and is always prepared and familiar with the material he is playing..
Bernstein solos so tastefully in this tune. shred is not always the way to go. restraint, phrasing, selection of notes speaks volumes if you have an ear for it.....
@@aidenmoroney2632 Nope. C11 implies the 11 above the 3rd creating a stark minor 9th dissonance. The voicing Brad uses (rootless mind you) goes F, Bb, D, E. Also, nobody actually uses “C11” (check out Adam Neely’s video for a good explanation why it isn’t standard practice). If you go to any Brad Mehldau transcription with a harmonic analysis the voicing has been analysed as 9(add4) and sometimes as add#4 when it’s being used in the context of lydian.
I d like to add that if u compare BM over 10 y ago his playing was quiet different n his aggressiveness n determination n quantity today he s more in the PB type of playing in control n very musical less tech...Things change
Very true. Take a listen to his playing on "When I Fall in Love" album with the Rossy brothers or "Moodswing" with Joshua Redman in the early 90s and then his playing on Trio Live in the mid-2000s. He has matured a lot as a player and has become much more unique because of this.
I don't think anyone's a poor improviser here, but Peter Bernstein's solo has a bit of a tentative quality--I'm not sure it ever really takes off. And I feel like Brad Mehldau's solo here is one of the best I've ever heard. One thing to notice is that he starts with a response to the last phrase of the guitar solo (the four low guitar notes at 5:26), which he explores for almost a minute, and keeps returning to throughout his solo (such as at 8:18). It's really amazing, at least to me.
I like your comments about PB solo I sort of feel the same but the comp here is nothing really complicated so not to familiar w PB's playing I started to listen to more n in effect he s a discreet type of player versed in what I heard in a more poetic type of playing direction...
If this was an actual conversation, Bernstein is saying “uuuuuhhhhhhhh...........uhhhhhhhhhhhhhhh. Well, that’s because ....uhhhhhhhhhhhh. You see uhhhhhhh.” Not hating, just my opinion.
i agree totally with your comment regarding bernstein's solo(tentative) and i am a fan of bernstein's trio work (dragonfly). music is a conversation and in this example bern doesnt quite finish his thoughts( imo) those who disagree are entitled to there opinion but should respect yours as well.
I feel like the issue with Bernstein's solo is not the sparsity of melodic material or lack of rhythmic virtuosity but the absence of strong development. I totally get what he was going for, he was improvising using units of the theme but he wasn't able to relax with this approach and really let loose, I could "hear him thinking". And I know this because I make the same damn mistake Peter makes here, I try and play a truly unique solo which has a strong link with the composition I'm playing over but I end up overthinking.
Tom Parker Form vs function ... music is not always about letting loose ... too tight does not flow and too lose is annoying. Developed awareness creates a conversation with your instrument, your body, an invitation to breathe into the sounds in relationship to each musician ... this is opening alive improvisational music.
I like Bernstein's playing here, but I wonder if he was a bit too intimidated by the company to really stretch out. And he doesn't comment when Brad's soloing (which is great BTW). As a whole band, though, they sound great.
I prefer to hear him play sparsely, but play every note differently to all the modern age jazz shredders who superpose the same old scale runs with the same touch and the same phrasing over every damn chord progression they come across. At least every Bernstein solo sounds different, even when he only plays chord tones.
@@simplefruitsMTV seriously. i listened to it again. the last minute of the solo, EVERY note , every phrase harmonically and rhythmically well placed, in the cracks, nothing wasted, ,responding to and letting the others build up the churn of the pulse. It's really, really great ears and group playing, with a ton of confidence. go get your shredder dose somewhere , and come back to hear how to play the band with your soloing. He is not playing notes, or the guitar, he is playing the band.
Bernstein knows exactly what hes doin here, very deliberate phrasing and spacing. I love it, so refreshing to hear someone not just tearing into the tune like they have something to prove. He's obviously been reading the Tao Te Ching.
Good analogy !!...you can't have an "up" with out a down.
Jeremiah Roberts agree, its a refreshing solo
It sounds pianistic to me
I love he’s music and Tao also.happy to see someone know that.
Yes, the phrasing and spacing is deliberate and quite tasteful. What people don't like is the lack of (or not enough of) rhythmic development and harmonic interest. Compare with the first 40 seconds or so of Brad's solo and he has that lovely sense of space and phrasing Bernstein had but he's also far more comfortable over the complex changes and expresses more ideas.
There's no tentativeness here. Bernstein is not playing notes, or the guitar, he is playing the song, the groove, he is playing the band. Riding and amping up the pulse, dropping the sounds in the cracks of the pulsing rhythms, in just right places, beautifully. listen to the last minute of his solo. just "whew!!".. If you can't hear that, sorry.
Mehldau always has that "yea you like that don't ya bitch" expression on his face when he plays haha
Jazz Masters make it look so easy. What's with the jerk who posted he doesn't like Peter's guitar solo?Peter's solo is brilliant and is one of the best guitar players on the planet.
No one noticed the songs name its an anagram of Brad Mehldau? B U D D H A R E A L M - B R A D M E H L D A U
Mere coincidence?
Wow! Thanks for noticing it! It means a lot as he is an adept of master Thích Nhất Hạnh, one of the most relevant teachers of Buddhism in modern times….I don’t know if is posible to play like this without the proper level of awareness…and I mean all of them🙌
I've been listening to this recording for six years or however long it's been up on RUclips (here or elsewhere) and I've always loved PB's playing here. As someone else said, he lets the tune BREATHE.
I had the impression of this tune that it’s very much about breathing, each person seems to have their places but staggered as if breathing in response to the melody/rhythms, although Drums and base are very very aligned to keep defending the complex rhythm structure.
Amazing ear solo by peter bernstein
brad looks like a roman emperor
We already got too many wannabe emperors, can we go with Roman Consul? Lets just say its in the fingers, heart, soul and ears. But doesn't it have to be first in the fingers? Sometimes gold rains down, and some of us be payin' attention.
a writhing handsome cat with ideas that sinew like a watery curtain veiling another world.
bernstein is absolute beast no one plays like this dude
Me encanta Piter e igualmente la batería, suena increíble
PB is smooth poetic n brilliant
Jeff Ballard, who even the cuss ARE YOU? Sweet Jesus he kills it.
Rosenwinkel's drummer. Seriously one of the best out there and my personal favorite drummer in contemporary jazz (that i've heard)
his time is kinda whack tho tbh
Paul Atreides , that's what gives his playing a great rhythmic feel. He suggests time instead of closely (and blindly) following it.
If his time was "kinda whack" he wouldn't be on stage with these guys. Go practice with a metronome for a couple of years then give another listen. GTFOH
I'd love to hear where in this video you observed Ballard's "whack" time.
it's insane to call pb anything other than masterful, and this solo is no different. great control and purity. the use of space is incomparable, ideas lift into the air and float, completely naked and exposed. nothing tentative about it; it's masculine, confident playing. and it's the perfect compliment to brad imo.
Have to disagree. Yes, the phrasing and use of space is nice at first but also becomes extremely repetitive and it's clear he's struggling with these changes. Brad composed Buddha Realm that year in 2006 so if I had to take a guess, Bernstein hadn't had time to get comfortable with these changes yet. I'm not ragging on Bernstein, I just think that on this particular tune he was struggling to get out his ideas even though the ones he played were good.
@@UkuleleAversion tbh these changes sound really hard to pick up. Prob one of the hardest jazz tunes ive heard in that respect, not only is the harmonic movement complicated but also the harmonic rhythm
Wow, just discovered this. Beautiful.
Great title! Brilliant musicianship!
i have to agree, Peter is playing with thoughtfulness and space and letting the changes breath. It's refreshing to listen to.
Incredible performance!
@Karel Cuelenaere ROIO Archive... I know its been 3 yrs since your comment so maybe youve had some time to listen again and rethink your comment. bernstein's playing on this song reflects an intimate understanding of the harmony of the tune as his playing always does.. perhaps your ears were having trouble the day you made that comment. bernstein plays the best notes and has the best phrasing and is always prepared and familiar with the material he is playing..
Joseph Koubek no i'm still thinking the same, that's not saying it's not a good solo...
I’m still listening to this 5 minutes in so it must be good. Only a handful of guitarists would be brave enough to solo over those chord changes.
Una clase del mejor jazz, solo la magia que ponen en el escenario puede describir esto. nada más que agregar.
Bernstein solos so tastefully in this tune. shred is not always the way to go. restraint, phrasing, selection of notes speaks volumes if you have an ear for it.....
Perfection!!!! wow!!!
Guitar - Ted Mosby
Actually Peter was great influence on Brad and he played on Pete's records many times.
Great tune !
it's not about being a pianist, i'm a guitarist and that statement completely true
Solos: Amaj7 Fmaj7/G C9add4 Bbmaj9
Alternate voicings Brad uses: Amin9/G instead of Fmaj7/G and Bb9add4 instead of Bbmaj9
C9add4? Lol
@@aidenmoroney2632 Yeah, a C9 chord where the 4 is present alongside the 3rd instead of being used as a suspended note.
@@UkuleleAversion C11
@@aidenmoroney2632 Nope. C11 implies the 11 above the 3rd creating a stark minor 9th dissonance. The voicing Brad uses (rootless mind you) goes F, Bb, D, E. Also, nobody actually uses “C11” (check out Adam Neely’s video for a good explanation why it isn’t standard practice). If you go to any Brad Mehldau transcription with a harmonic analysis the voicing has been analysed as 9(add4) and sometimes as add#4 when it’s being used in the context of lydian.
@@UkuleleAversion nah
I d like to add that if u compare BM over 10 y ago his playing was quiet different n his aggressiveness n determination n quantity today he s more in the PB type of playing in control n very musical less tech...Things change
Very true. Take a listen to his playing on "When I Fall in Love" album with the Rossy brothers or "Moodswing" with Joshua Redman in the early 90s and then his playing on Trio Live in the mid-2000s. He has matured a lot as a player and has become much more unique because of this.
I don't think anyone's a poor improviser here, but Peter Bernstein's solo has a bit of a tentative quality--I'm not sure it ever really takes off.
And I feel like Brad Mehldau's solo here is one of the best I've ever heard. One thing to notice is that he starts with a response to the last phrase of the guitar solo (the four low guitar notes at 5:26), which he explores for almost a minute, and keeps returning to throughout his solo (such as at 8:18). It's really amazing, at least to me.
~ ~ ~ ♡ ~ ~ ~
BB bad n brilliant
I didn't know that Willem Dafoe was a killer on guitar!!!
Not to mention the fact that he does kind of shred, especially around 4:00. Hot licks get the chicks.
11:06 Waltz for Debby by Evans :D
Piano solo is fuckin killer
if you have "We See" from this same concert, could you upload it? The version previously on youtube has been removed.
Where can I see this show full? I would love to buy it if it is available.
I like your comments about PB solo I sort of feel the same but the comp here is nothing really complicated so not to familiar w PB's playing I started to listen to more n in effect he s a discreet type of player versed in what I heard in a more poetic type of playing direction...
If this was an actual conversation, Bernstein is saying “uuuuuhhhhhhhh...........uhhhhhhhhhhhhhhh. Well, that’s because ....uhhhhhhhhhhhh. You see uhhhhhhh.” Not hating, just my opinion.
Peter doesn't sound tentative at all. He is not going play a whole bunch of notes. Thats just not his style. He's making every note count.
Can anyone tell me what make of guitar Pete is using here?
Thanks ~
something tells me @janecroft is a pianist...
@keshavbatish I thought Willem Dafoe
Who is the composer of this piece?
Brad
i agree totally with your comment regarding bernstein's solo(tentative) and i am a fan of bernstein's trio work (dragonfly). music is a conversation and in this example bern doesnt quite finish his thoughts( imo) those who disagree are entitled to there opinion but should respect yours as well.
since when complexity makes a good player?
I feel like the issue with Bernstein's solo is not the sparsity of melodic material or lack of rhythmic virtuosity but the absence of strong development. I totally get what he was going for, he was improvising using units of the theme but he wasn't able to relax with this approach and really let loose, I could "hear him thinking". And I know this because I make the same damn mistake Peter makes here, I try and play a truly unique solo which has a strong link with the composition I'm playing over but I end up overthinking.
Tom Parker Form vs function ... music is not always about letting loose ... too tight does not flow and too lose is annoying. Developed awareness creates a conversation with your instrument, your body, an invitation to breathe into the sounds in relationship to each musician ... this is opening alive improvisational music.
I actually like that 'i can hear him thinking' and making choices here.
C. Anna Fisher yeah
I like Bernstein's playing here, but I wonder if he was a bit too intimidated by the company to really stretch out. And he doesn't comment when Brad's soloing (which is great BTW). As a whole band, though, they sound great.
I prefer to hear him play sparsely, but play every note differently to all the modern age jazz shredders who superpose the same old scale runs with the same touch and the same phrasing over every damn chord progression they come across. At least every Bernstein solo sounds different, even when he only plays chord tones.
Bermstein struggled well with that tune.
Define poor improviser!
dont like guitar solo, he just play 2 or 3 chords tone per chords...
+Jean-François Mercier quality is not quantity.
The point of it all is to make music, not to jerk off the fretboard.
You seriously have some ear problem bro ...
@@simplefruitsMTV seriously. i listened to it again. the last minute of the solo, EVERY note , every phrase harmonically and rhythmically well placed, in the cracks, nothing wasted, ,responding to and letting the others build up the churn of the pulse. It's really, really great ears and group playing, with a ton of confidence. go get your shredder dose somewhere , and come back to hear how to play the band with your soloing. He is not playing notes, or the guitar, he is playing the band.
Compared to Mehldau Bernstein is such a poor improviser...
No.
No, you silly billy