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Jazz - Peter Martin full trio transcription of Autumn Leaves


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I like this

 

[video:youtube]

 Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."

 

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I kept waiting for him to do the infamous East coast subs of Bm7 E7 | Bbm7 Eb7| in bars 3 & 4 of the A sections. He somewhat hinted at it in one place of the solo and again on the head out.

 

I'm glad that wasn't a feature. To me, nothing screams "second semester jazz major" like overusing that device. And by "overusing," I mean "using more than about once."

 

I hadn't really checked out Peter before I started working with Open Studio last year, but I've definitely come to like him as both a player and an instructor. (And he seemed like a nice guy the one time we hung out.) Their stuff has surprised me by inspiring me to practice more, and giving me new approaches to practice that I wouldn't have come up with on my own. Peter's also been doing weekly solo piano livestream shows on Fridays, and they've been consistently top-notch.

 

(BTW, I wasn't the transcriber for this one, so it's new to me too.)

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Cool to watch. Especially the drum part. Wonder how it was done. Is it free to subscribe to Open Studio? Looks like some isn't maybe?

 

 

Open Studio does a lot of content for YouTube that is free, but their online classes there is a charge either per class or annual subscription. They have a one week free trial of you just want to check out what they are doing. A lot of good instructors at Open Studio.

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I first heard Peter on this youtube of him playing "Skylark" with Diane Reeves. A beautiful arrangement, great playing by everybody, and stellar singing. There are other youtubes of him playing with her. Every one I've experienced has been a treat to hear.

 

 

I kept waiting for him to do the infamous East coast subs of Bm7 E7 | Bbm7 Eb7| in bars 3 & 4 of the A sections. He somewhat hinted at it in one place of the solo and again on the head out.

 

I'm glad that wasn't a feature. To me, nothing screams "second semester jazz major" like overusing that device. And by "overusing," I mean "using more than about once."

 

Ha ha I am 100% with you on that. Try hearing it a jam session when four sax players each take 50 choruses on it. I've been there.

 

I thought of another example â bars 5 & 6 of "Gentle Rain" as written in almost every fake book I've seen. All with that II-V / II-V progression that gets old the second time through the changes. Only the "New Real Vol 3" book has it right, as far as I've seen.

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I kept waiting for him to do the infamous East coast subs of Bm7 E7 | Bbm7 Eb7| in bars 3 & 4 of the A sections. He somewhat hinted at it in one place of the solo and again on the head out.

 

I'm glad that wasn't a feature. To me, nothing screams "second semester jazz major" like overusing that device. And by "overusing," I mean "using more than about once."

 

Well, I've played it behind such LA legends as Pete Christlieb, Bill Watrous, Jack Sheldon, in addition to A list players from my generation - Doug Webb, Andy Martin, Bob McChesney, Howie Shear -- and I wouldn't exactly classify them as "second semester jazz major" level. ;)

 

I've also sat in the audience and heard Dexter Gordon play probably a dozen choruses with his Quartet with George Cables at the old Concerts by the Sea. Also Tom Harrell behind a stellar LA rhythm section, that featured Bill Mays, at old Carmelo's in the Valley. Tom probably played half the choruses of Dexter. The first time I heard Wynton Marsalis with Art Blakey, James Williams was the pianist, they did an uptempo version and everyone played on that sequence.

 

All that said, I do agree with you that if you do indeed hear a beginning Jazz student who's reading out of a fakebook and plays those subs, it can sound contrived.

 

Personally I don't play them anymore...I think I heard it and played it too many times ! :laugh:

 

I find that even the best players, after playing a tune the same way for years, will just fall into the habit of playing it the same way every time. I'm guilty myself. It's actually more of a muscle memory thing than anything else! Now that I'm more aware I try to just play a Bm for a whole bar then Bbm for the next bar. Even if the bass player is playing B E / Bb Eb is sounds OK... actually a little hipper imo.

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Cool to watch. Especially the drum part. Wonder how it was done. Is it free to subscribe to Open Studio? Looks like some isn't maybe?

 

 

Open Studio does a lot of content for YouTube that is free, but their online classes there is a charge either per class or annual subscription. They have a one week free trial of you just want to check out what they are doing. A lot of good instructors at Open Studio.

 

I think one of the things that got it all started for Peter was the Two Minute Jazz videos. There are a ton of those on YT.

 

You can buy individual courses as well as Packs each with lifetime access, or you can subscribe. There are several subscription levels. One is the Piano Access Pass which currently has a one week free trial, and they're not even asking for CC info. Of course, you do need to give them an email address so you can sign in and use it. The top-of-the-line is the All Access Pass which gives you access to every course. Even when you don't play the instrument, there are things you can pick up, and who wouldn't go to a course by Christian McBride, Dianne Reeves, Romero Lubambo, etc.? I've been a a buyer for a while, and became a member a year or so ago. When you think of the math of how much lessons from a teacher might cost you every month, this makes sense. At least it does for me. The subscriptions give you access to everything (piano-related or all, depending on which one you get) including new stuff that comes out while you are a subscriber. They have new things in the pipe right now.

 

Also, Peter and Adam do a podcast called You'll Hear It. It's free and pretty funny and entertaining. I've been subscribed to that since it started. I even make my wife listen to it when we're traveling by car. :D Truth is, she seems to like it even though the technical stuff is over her head.

"I'm so crazy, I don't know this is impossible! Hoo hoo!" - Daffy Duck

 

"The good news is that once you start piano you never have to worry about getting laid again. More time to practice!" - MOI

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My favorite quartet version, 300 bpm tempo. Johnny Griffin sax, Ronnie Mathews piano, Kenny Washington drums, Ray Drummond bass

 

|| C-7 | F7 | B-7 E7 | Bb-7 Eb7 | every chorus for solos, plays classic kicks of on head A section.

 

[video:youtube]

 Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."

 

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A couple Open Studio YouTubes coming up that ya'll might be interested in. First on Tuesdays they do a live listening sess' and just play a Jazz album from first to last track. Between each track they discuss the track and with people on the live stream. With the stay at home going on it's good to get together with others and listen and talk music.

 

[video:youtube]

 

Then today they just put up a Peter Martin and Fred Hirsch are doing a piano duo on YouTube. Below are the links for both of those free events.

 

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I like when he uses the Dominant 7 altered on the A half-diminished, an old Herbie approach. Great lines ! A lot of melody going on in there. Cool to see the comping rhythmically for the bass solo. Gives students and Pros a look at that aspect too.

. :thu::cool:

 

 

Dave, can you point to a part in this video where he does that? I want to investigate it further. Thanks!

Endorsing Artist/Ambassador for MAG Organs and Motion Sound Amplifiers, Organ player for SRT - www.srtgroove.com

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