Joining A Jazz Band

[Rudi]

Yes, the incumbent guitarist is leaving for paid work on a cruise line.

 

First gig is in September (despite having have been together for well over a year). I have undertaken only to work towards that 1st gig. After that we'll see how it goes and what I want.

 

This is a major challenge for me. I am learning dense charts for some of these tunes. Not all the tunes are jazz standards but enough are to scare me a little. Of all musical styles, I've long regarded mainstream style jazz as something of a black art. 

 

I am not leaving the present band, and may even be forming up a blues band after Sept.

 

Checking out some of the unfamiliar chords. It took a while to realise that a #11 was a flat 5th, and a triangle was a major 7th etc etc. I am damned busy!

[TapperMike]

Best of luck in your pursuits, Rudi.

[TCgypsy]

Just get fluent with your ii-V-I progressions in a few positions and you will do fine. Have fun and don't forget the shark repellent!

 

Peace,

TC

[Lisa Gates]

Wishing you well! Keep us posted of your fame and fortune.

Lisa

[louielouwhy]

I'll be hoping that as you endeavor to progress it becomes easier and natural for you so it becomes easy, fun, and lucrative all in one package.  Good luck!

 

Louie

[davidmichael]

Thats awesome Rudi !!!!!

Sounds like an awesome adventure and I sincerely wish you the best.

Im sure youll do just fine.

Just keep it in the groove.

And most of all , ENJOY!!!!!

David 

Edited September 2, 2015 by davidmichael

[Rudi]

I've been away 3 weeks.

 

Wow what a great response! Thanks everyone.

 

 

 

The chart I have been given (The Real Book) for 'Journey to Recife' seems to have more chords than I can hear on the (several) recordings. I will play what i can hear until told differently.

 

All the keys we use are different to available recordings. So everything learned is then transposed.

 

Next practice is this Friday 4th Sept.

Debut gig is Sunday 20th Sept.

[Mahesh]

Wooho!

Good luck for the first gig Rudi. Let us know how it goes ofcourse. Maybe even a recording or two?

Cheers.

[Rudi]

There is a rehearsal this evening. It will be my first ‘proper’ rehearsal. The first (& only) previous time was 7 weeks ago when I just walked in and was just asked to sit down and play. The tenor sax & trumpet players agreed the tune was in F.

 

I couldn’t keep up with the chords at all. When I was handed a solo, I began in F. Guess what? It wasn’t in F. After a bar & a half I slid down to Eb and it then sounded ok.

 

Since then people have been on holiday (including me for 3 weeks) and I’ve had to work on this stuff alone. While away at sea I had no proper opportunity to practice. I got back last week.

 

Yesterday I had a reply from the flautist to tell me that ‘Stone Cold Sober’ (a non-jazz song) was in C and not in E after all.

 

I’ve been writing a process plan for work while listening to Killer Joe by Benny Golson on YouTube. It’s the only tune I have not worked on from the Jazz Band set. Mercifully, it sounds straightforward.

 

What could possibly go wrong?  

[TapperMike]

Have to watch out for which real book you get. Some are for Bb Instruments. At least the band agrees on "The Real Book" as a single source. You wouldn't believe the variance in notation from one book to another.

In jazz it's common to transpose songs sometimes changing key by surprize live in the moment to accommodate some prima donna. (I knew one sax player who would only play in C)

Depending on the size of the band you can reduce chords. If you are working with a keyboard player or 3 piece horn section it's preferred that you do. Stick to comping 6th/7th chords and forget the extensions.

[TapperMike]

When I was playing in jazz bands early on they would be constantly seeing if I could cut the mustard. Songs would be played both in faster tempo's and in different keys. Sometimes they would play it songs in different time signatures as well.

To them it was separating the wheat from the chaff. To me they were simply a bunch of old jerks. Truth of the matter is all of those same people had to go through the trial by fire process and it was some sort of "right of passage" To earn your spot on the stage.

[Rudi]

These guys are ok. They do focus on my weak spots but that is only reasonable.

 

They recorded that first tune I sat in on (described above) and I now have it as a 'memento' It is just as I remembered and described it.

 

There has been a lot of confusion about keys. The others are all readers and one of them is music teacher. The ‘Stone Cold Sober’ tune mentioned above was in neither E nor C, but in D so I had a lot of notes to take because of such rapid transcriptions.

 

To me and the unschooled players I usually mix with, the key is pretty obvious. If nothing else it is the final chord played in the tune. Its weird playing music with people who think about it utterly different than I do.

 

I have been asked to 'join' them beyond the debut date I committed to. I said I would continue with them but would leave my options open.

 

Some of the band have worked to arrangements other than the real book and that caused a problem or two on Friday with everyone comparing chords.

 

There are a couple of tunes I like. One is 'That's All'. I have learned it from listening to this version by Barney Kessle, though of course we do it in another key (Bb).

 

Another is 'Istanbul Not Constantinople' because it suits my penchant for chromatic lines. Ive not heard any version using the rhythm we do, but it oozes mood.  

[TapperMike]

The Real Book has been the defacto standard around here since it first came out. Same with Chicago and Denver. I know because I used to frequent those places. The thing is when you have singers they tend to be prima donna's and will only sing tunes in keys they feel comfortable with.

When I was playing in Florida with the Bobby Cole trio He had his own books. He was a hack imho. Most of the songs were no where near key or proper chord changes. They were all "easy piano" songbooks. But he didn't share even the publishers name. I had to pretty much learn how he played the songs by watching his left hand. I wished I could have recorded his sets to transcribe for myself.

There is something so lyrical and bouncy about BK's playing.

[Rudi]

The thing is when you have singers they tend to be prima donna's and will only sing tunes in keys they feel comfortable with.

 

 

Well I think it reasonable to defer to a singers choice of key. My vocal range is limited and some songs are beyond my range in any key.

 

I briefly played in a rock band where the bass player would fool the singer into performing in the key the bassist wanted to use. He would change key a couple of time and always return to the key he knew. What an attitude!

 

I had to pretty much learn how he played the songs by watching his left hand.

 

 

I cannot follow a person's playing by watching. I am utterly useless at doing that.

If I draw a chord diagram, I draw it upside down to resemble my view of my guitar.

[Rudi]

I still haven’t figured out the sound I need for the jazz band. The Hofner is the obvious choice, but during this transitional period I need something easier to play.

 

I would use the Deuce because I built a good jazz tone for it on the Line6 POD HD400, but that guitar is still at the luthiers. He’s had it for 3 months now.

 

A few days back I got an Epi Casino Coupe. That’s in the broad territory of the right sound. It’s far more mellow than the ES-339. I may give that a try at this Friday’s rehearsal.

[TapperMike]

Many of my favorite current jazz player play.. Telecasters.

Ted Greene

Ed Bickert

Tim Lerch

That was my driving inspiration to buy a Tele when I went looking way back. I just love tele-jazz tone.

[Rudi]

That is a beautiful gorgeous tone. I know Teles can do this. This might be the best example I have heard though.

 

Well, I don’t have a Tele. I swore off Fenders when I parted company with my strat (Strats are not too bad for jazz tone either). Maybe I could reconsider Fenders? I also swore off Gibsons but have since found I can actually play those little fingerboards after all.

 

I don’t want to go buying another guitar now though. Maybe I can get the Deuce back before the gig on the 20th ?

[TCgypsy]

I can get a great jazz tone on my Gibson Les Paul. I think it is just a matter of preference. Fenders sound good too in the hands of a good player. I have heard dudes play what I would consider less than stellar guitars and sound pretty darn good.

 

Whatever makes you happy! I like Gibson because of the neck (never been as comfy with Tele/Strat neck) but that is just a personal preference. I will play anything with strings that makes noise...

 

Have fun.

 

Peace,

TC

[Rudi]

Thanks TC, yes only yesterday (YouTube) did I hear an LP sounding more jazz-like that it has a right to expect. I have no idea what it was used through.

 

...but I don't have an LP either !

[TapperMike]

One thing to note about transcriptions. In jazz every artist (and sometimes publisher/transcriber) likes to embellish things. This often includes scoring chord substitutions. I remember many years back I got ahold of a transcription for Pat Metheny's version of "Around Midnight" The transcription wasn't based on PM's version nor was it a representation of Thelonious Monk version. I don't have your ear so I piecemealed together my own version which was acceptable but really didn't have the flavor of the Metheny version (which was my goal) or the Monk version.