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Nice Carlo! Several things, but one was the brief F triad over A on the last "A", and the last two chords before the final one (major7). I feel silly even evaluating this stuff, but I like pointing out some little spots that grab me. There were many things I liked about it. Dave F, I like that Only Have Eyes. You have some groovy stride stuff going on there too. As for the discussion I missed while I was playing out of town tonight, I basically agree with everybody (which may make me a moron.) I didn't take anything to be an attack, and I agree with Carlo's outlook on it. And I agree with Dave Horne too, that it's nice if we identify when we use "aids", but not mandatory. No rules. Some things I've done were quick, one time throughs with no practice (like my first version of Where Or When), and I've used no clicks or anything else except for the layering of instruments on 2 songs. And there's NOTHING wrong with using clicks or aids. (Caps for emphasis only.) Actually, a click track isn't even worth mentioning, since it probably helps and hinders one's playing. To be perfectly honest, I often have to take a second try on many of these, not because I didn't play them "well enough", but because often I'll hit a wrong note right from the start and ruined it before I even got started. Once I'm "in" on the tune, I usually do OK. Amazing sometimes how you can play a ton of notes with no mistakes, and then can't get the first 2 bars right. Anyway, I'm very appreciative of everyone who has and is participating and giving something of themselves in this thread. I've been affected and inspired by something that's been played by each of you, and I'm a better musician for it. I sense a small, collective broadening of the scope for each of us, which is more than I would have hoped for when this started.

There are no unwritten laws here. (Yes, you may use the transpose button- Haha, kidding!!) I haven't used a click track myself. But on "Why Shouldn't I", trying to play real time bass, I SHOULD have. I see nothing wrong with a click track... except for myself, I think it would make me nervous. Translation: no rules. As long as it's us playing what we can physically play. Otherwise, we can state if we do something differently. If we sequenced other instruments, that of course would be obvious.

Just discovered something on my FP4. I thought when I listened back to Twelve Tone Tune it was fast - I had played it fast but I didn't remember playing it THAT fast. It bugged me. I record my stuff on the FP4 first and then send it to the computer, so I don't have to go back and forth. I checked it - the default tempo on the FP4 recorder (which is 108) is 109. So in pushing all those buttons, I must have changed it and sent it back to the computer one number faster than I played it. I was already at absolute top tempo, so that increase was just fast enough so when I heard it back, I was thinking WHAT, was I in some sort of zone or something there? So that's the reason it sounds a tad fast, which it is! (so think one number less, 108 instead of 109)

It's good that you're balancing classical with jazz. From that perspective, I think you'll particularly enjoy our member Marino's playing. This thread is for comparing approaches to music, sharing styles, harmonies and ideas, and sometimes on the same piece. So anything with a different perspective on known material is welcome. Nice performances on those two short pieces.

Welcome Peter, to the reharm corner. Very nice to hear you and thanks for posting. Hope to hear more. I agree - nice feel and sense of space, killer piano/ excellent recording.

Gentle Rain is a pretty tune. Nice mood and substitutions on that, Dave.

Carlo, please pardon any scariness. Speaking of which... I think I bit off more than I could chew on this one. I tried to give Bill Evans' "Twelve Tone Tune" a semi-modern classical vibe, and actually added a few more chords, so it's like Twelve Hundred Tone Tune. Improvised in one take - When I got into it, I was so preoccupied with keeping the pseudo/semi-classical groove with all those chords, I didn't really solo like I wanted to. Plus the tune at this tempo was just too hard to handle. I may revisit this later to do a more respectable job. But for now: http://www.divshare.com/download/4596057-e87

Haha

"Live" version added above.

Blue Room. Always was a charming, old tune. I was waiting for your ending to be: http://www.divshare.com/download/4591316-1c6 (Da' Classics) Smooth version of The Queerness/Nearness Of You.

Yeah, beautiful meanderings on "Peace", Carlo. Really enjoyed it. One fast double time line in particular (almost 2/3rds of the way through) caught my ear because of the different paths it followed. And ANOTHER song I'd forgotten about! Thanks for sharing that. That made me recall Bill Evans' old song "Turn Out The Stars." I ran through it just now. Since it's so definitively Evans and another era, I may not do a version, but what a masterpiece.

LB, your ATTYA was unique and pretty. Interesting how the expanded voicings (to 13th's, etc.) placed the melody inside of the chords, which gave it a delicate, almost Satie-like quality.

I'm up for the idea, Dave. A list of possible tunes or one specific suggestion for a "dumb tune" would be helpful. Or just post one of your versions to start it off. You mentioned The Doors, so my first idea is "Hello, I Love You, Won't You Tell Me Your Name?" Same goes for a classical rendition - name one or post an example. I'll have to abstain from "Mr. Sandman", as it was already included it in that "bossaquarium."

Then you probably saw him at Bradley's too, that small restaurant/club where he played regular weekends for years. You just hit on something there. I remember that too, that his playing was always accessible and comprehensible... easy to hear... yet practically impossible for anyone to duplicate. He had a personality or unique spark in his style, which I used to analyze while listening to him. He was playing older music, but he always sounded fresh and lively, and I wanted to understand how he achieved it. I finally decided there is no answer, unless you're Tommy Flanagan, because he wasn't doing anything that any good bop player couldn't do. Ditto.

I loved Tommy Flanagan's playing. He always had a spark of youth and humor to the bebop style he played.

That's cool, LB. Reminds me, I used to go hear Red Mitchell with Tommy Flanagan many, many times at the old Bradley's in NY. Always great, and they knew a million songs. I have a gig, but I'll look forward to your ATTYA tonight when I get home. Thanks for posting it.

Nice playing, DH. Being musical is more important than just being artsy/craftsy "creative", as you well know. "All Of You" is a great song, but I can't do a version of it. After hearing the local faculty at the VCU jazz department do it so often, like their jazz national anthem, I developed a mental block to it. I need a cure at reharm rehab. BTW, I won't play that last weird version of "Where Or When" again or on a solo gig. (I wouldn't want to reharm myself into an early retirement.) It was just a one time thing to change its character for this thread - like "W Or W" on Halloween, in a mask.

I wanted to do more with the vamp, but I had this awful buzz on one channel so I cut it short. I might redo it later, or just stick the intro on something else. Thanks Dave.

Ok, here's 'Where Or When'... again. Not the full treatment I wanted to give it, but it's kind of dark/different. http://www.divshare.com/download/4563880-8bf Sadly, I encountered a loud electronic buzz on the track and had to EQ it out. So the fidelity sounds murky.

Cool rendition, Dave F! Almost a touch of Ives in there. I might try a more extreme one on W Or W soon, for the fun of it. I don't think any of us could approach these songs the same way, even if we tried, which is why it's cool to compare. We can do multiple versions of the same song too, when you have different ideas. Any good rendition stands on its own merits, regardless of how complex or simple. Your good version of "Where Or When' opened the door to us wanting to try new things on it. I'm sure you'll pull out more tunes I hadn't considered before. Your playing has a relaxed sense of order and an intelligent perspective.

Linwood, I'm floored when you tell me your dad remembers me. Please tell him "Hi" and a big "thank you". I remember him being a terrific person. It's great that you two live so close and can do things together. And thanks for telling me. Carlo, thank you, and I really enjoyed your "All Of You." Very original approach (as always) and I loved the ending. I always like when songs end somewhere in the middle of an extended melody. And no apologies necessary for "fusiony" sections, especially after my cacophonic tribute to fusion on the other page.

Exactly. I pretty much stopped doing reharms in the last 3 songs I did here. I'd prefer to think of it as our "versions" of songs from here out, reharm or not. When that gets old, we'll move on to original compositions. If that ever got old, we always have FREE improvisation!

Thanks Dave and Dave. I threw a couple of odd chords in; not as pretty as Dave's version. I just checked the GT - it's what I thought it was. Nice. Similar style to the Kawai I'm playing at this club, but your recorded sample sounds better. I'm trying to pick one out for another club owner who wants to buy one. The top Roland digital grand sells for $27,995, but I'm not thrilled with the prospect that some of these pianos play themselves. Maybe the club owner won't notice that feature.

Dave, so the GranTouch is a home digital grand style piano, right? It sounds good. One gig I do provides a Kawai home digital grand. It cost them $11,000, but leaves me rather unsatisfied. There's also a Roland home grand - the RG-3 (I believe) that incorporates the so-called "Ivory feel" and escapement of the 700GX. Could be interesting to check out. Here's a real quickie of 'Where Or When' with no plan, which will be obvious. Not much of a reharm per se, but some extra chords thrown in. I kept in the the same key. This tune could be taken to the extremes and probably deserves that treatment, but for now I tried to keep it in the same character. Just a little different. http://www.divshare.com/download/4553689-da6

Very nice. And I 'dug' the subtle augmented 5 on the Abmaj7 near the end. I might even try a version of it sometime. I forgot all about that tune.