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2 recordings to critique

Discussion in 'Recordings [DB]' started by rossM, Mar 20, 2006.

  1. rossM


    Jun 27, 2005
    sydney australia
    here are two diverse recordings which I would like anyone so minded to critique- one is an original modal tune ( actually played on electric bass) - the other is trad/ mainstream tune I recorded (on Double bass) recently with a band I work with as a regular gig on Sat afternoon in a pub in Sydney (Australia) . The singer & cornet player is a 78 year lady who has been doing this stuff for ages - we have been putting together a cd to dcument her (and her husband a piano player -also in his seventies). As this material is intended to be sold at the hotel -comments on its quality would be valuable. A note of caution - due to the file size these are mp3 's rendered with a limited bit rate so there are limitations to the fidelity on these , not apparent on the actual files to be used for the cd. Thanks for listening -RossM http://www.soundclick.com/bands/pagemusic.cfm?bandID=509034
  2. shoeline


    Jan 13, 2006
    Nova Scotia
    Sounds Nice.
  3. Marc Piane

    Marc Piane

    Jun 14, 2004
    Nice stuff. I have some thoughts but would like to know who I'm talking to. Please fill out your profile.
  4. Chris Fitzgerald

    Chris Fitzgerald Student of Life Staff Member Administrator

    Oct 19, 2000
    Louisville, KY
    The modal one with the electric bass sounds good, like everyone is having a good time - the electric sound is not really my cuppa for jazz, but you get a decent sound on this cut. The time feels solid. On a tune like this, I'd try to open up the harmony quite a bit more. When you have a progression like G-7 to A-7 that repeats for a long time, there's a lot of room to experiment with different bass notes. If you think of the G-7 as basically Bb/G and the A-7 as C/A, then you can start to see some of the harmonic relationships that could lead to different basslines and/or "versions" of each chord.

    For instance, C/D = Dsus, which leads to an alternate version of the harmony. You could pedal a D under both chords at some point, which would give a great suspended feeling to the harmony. Other implications:

    Bb/C = Csus; C/Bb = Bb Lydian, etc. On modal tunes like this, it's often fun to create slow moving basslines which are more linear in nature, and which c reate tension the longer you avoid the original two chord vamp - this tension can be a great way to lead into the E to D chord change. Also, since everyone else is pretty much staying at home rhythmically, there's plenty of room for someone to start to stretch in that direction. HTH!
  5. rossM


    Jun 27, 2005
    sydney australia
    thanks to those who have replied - Chris, I will try out some of the ideas you suggest- though they may require me to think a bit wider than comes naturally to me when playing-
    Fiingers - I have placed some details on the profile page
  6. Marc Piane

    Marc Piane

    Jun 14, 2004
    Thanks. Just gives a little better picture of who you are.

    Since Chris talked about the harmonic stuff, and he made some great suggestions, I will talk rhythmically and dynamically. I really like the mood. The melody is really nice too.

    The tune needs to tell a story though. Right now it sounds like the standard head, solo, solo, head thing. That can work, and it does all the time, but each solo has to be unique. In a modal tune, since the changes are not the primary focus, there are so many directions you can go. Loud, soft, dense, sparse, rhythmic, free, half time, time, double time, polyrhythm, etc.

    Think of dynamics both in terms of density and volume.

    Also, you as the rhythm section can help the soloist tell a story or tell it together. Give them someplace to go musically and go with them.

    All that said, I really like where you are coming from. I only offer critique because you asked for it. All in all, nice.

    Now off to have some coffee. This is not my best writing and I think it has to do with the caffeine to oxygen ratio in my blood.
  7. nickbass


    Apr 29, 2005
    Northants, UK
    Mean to Me..nice sound..I love that sort of talking style of singing..very expressive.Solid walking bass but I think you could be more adventurous in the paths you make through the changes during the blowing. Instead of playing the first two bars always Eb C7 Fm7 Bb7 for example, you can play Eb Edim Fm7 Bb7, (because Edim is the top end of C7b9) to get a nice chromatic movement. If you like the chromaticism, why not play Eb Edim Fm7 F#dim to move on to the Eb over a G root? One of the keys to interesting improvising is finding different ways to do the same job!
  8. rossM


    Jun 27, 2005
    sydney australia
    Nick - thanks for the suggestions -one thing I'm never sure of with these sorts of substitutions -is whether they will work if the chordal player is doing another sub or sticking to the basic changes - I suppose you just have to hear what the chordal player is doing - and do what you think will compliment -I will give it a try Thanks RossM

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