All Blues

[HelpImaRock]

I'm an electric bass guitarist, so I'm putting it here.

This popped up on my feed this week. It's a simple song where the challenge is playing it consistently for the entire time. Great video breakdown and I'm looking forward to more.

 

[Don Kasper]

Lots of good information here...EXCEPT for @6:44 - His analysis of a "compound chord" in bar 5 &6 of the form is just plain bonkers.
It is NOT "a C7 chord over a G7 chord..." - it can best be described as a Gmin7/add6 sonority over the Bassline Ostinato, in bars 5 & 6. Note that the Bassline Ostinato pattern contains NO 3rd of any kind (it does not imply a Major OR Minor third), so it can function under the first 8 bars of either G7 (Major) or Gmin7/add6 (Minor).
There is NO Compound Chord (sic) in All Blues, as played on Kind Of Blue.
IMFO, of course, as always.
Thanks.

 

[HelpImaRock]

Lots of good information here...EXCEPT for @6:44 - His analysis of a "compound chord" in bar 5 &6 of the form is just plain bonkers.
It is NOT "a C7 chord over a G7 chord..." - it can best be described as a Gmin7/add6 sonority over the Bassline Ostinato, in bars 5 & 6. Note that the Bassline Ostinato pattern contains NO 3rd of any kind (it does not imply a Major OR Minor third), so it can function under the first 8 bars of either G7 (Major) or Gmin7/add6 (Minor).
There is NO Compound Chord (sic) in All Blues, as played on Kind Of Blue.
IMFO, of course, as always.
Thanks.

That argument's above my pay grade. LOL.

 

[Wasnex]

I prefer the optional finger pattern: I.E. playing the low G with 2, E with 1 and F with 2. IMHO this is a much stronger fingering pattern than 4,2,4

I have always played this song from the Real Book changes, since I am an illiterate savage. The second chord in the Real Book changes is simply say C7 and not C7/G or Gm7add6. I play the same pattern up a 4th: C,A,Bb.

During the solo I alternate between swing (in 6) and the ostinato line. I might even wink at the drummer and go into 4...or maybe I will just do it and see who notices.

Not unusual to vamp on the G ostinato between soloists. Use non-verbal communication.

No idea where the Real Book changes came from. The Rachel Gould & Chet Baker version stays pretty close to the original ostinato during the head. But during the solo the bass walks the second time through the changes and the second chord sounds like C7 to me. It seems like the bass accidently hits the C during the first time through the changes, and then corrects to G . Sort of a nonverbal argument with the piano.



The Davis recording is from 1959 and I believe the Gould/Baker version is from 1979. Pretty sure the changes in the Real Book were established before 1979. So the source of the Real Book changes is something else.

 

[albertus]

about the C7 over G7, that is something that normally people get wrong, as in this case. this is a modal blues. what happens is that the song goes from G mixolidian to G dorian. there is no change of chord, there is a change of mode

 

[Jogobass]

If you have a 5 string, this ostinato is nice to play at the G on the B string. If I play this on sessions I will play the bassline a fourth up on the C7 just to make it clearer for the soloists where we are in the song.

 

[TreySonagras]

I’ve played this tune for many years in many different ways. It seems like there is the way Miles Davis recorded it and the way everyone else has played it. The Real Book is closest to how I have heard many people interpret the tune.

 

[Lance Bunyon]

about the C7 over G7, that is something that normally people get wrong, as in this case. this is a modal blues. what happens is that the song goes from G mixolidian to G dorian. there is no change of chord, there is a change of mode

This.
I took maybe 3 upright lessons. John taught me to stay on the I throughout the song. I'm illiterate.
The same season I took those lessons, I jammed once or twice with some real high fallutin Berklee types. The Piano gal insisted it follows at least a I IV pattern before the turnaround. My upright teacher was way more accomplished than her so I presented his argument.
Turns out he was right eh?
I'll have to listen to Kinda Blue today to see if the piano does what she said it does.

 

[dalkowski]

First jazz side I ever learned.

I just play it.

 

[Topkat13]

I feel all blue.

 

[Altitude]

I have always played this song from the Real Book changes, since I am an illiterate savage. The second chord in the Real Book changes is simply say C7 and not C7/G or Gm7add6.

Me as well, and this was the first thing I checked when I read this thread. The Real Book says C7. In fact, there's no chord notated in the entire tune with any modifications at all beyond the 7th.

Now, that might not be correct. But by now it's probably so pervasive as an understanding of the changes in that tune that if you hit a gig and play it otherwise you'll be the one who is wrong.

 

[BobDeRosa]

about the C7 over G7, that is something that normally people get wrong, as in this case. this is a modal blues. what happens is that the song goes from G mixolidian to G dorian. there is no change of chord, there is a change of mode

For the bassist, there's no change at all.

 

[SLO Surfer]

I prefer the optional finger pattern: I.E. playing the low G with 2, E with 1 and F with 2. IMHO this is a much stronger fingering pattern than 4,2,4

On electric bass guitar your preferred method of 2,1,2 would be what I’d use and/or teach. But on upright I’d use/teach the 4,2,4 fingering as demonstrated in this video, as it is a much stronger fingering pattern on upright that keeps your hand firmly anchored in 1st position (especially for beginners).

 

[MarshallAC50Stack]

 

[james condino]

I saw Miles play this song at a half dozen shows. Every time it was at a different tempo, with a different band, with different changes, and what seemed like multiple keys. He would laugh out loud for days seeing people micromanage every note & phrase. It comes from the heart, not a math textbook.

 

[Wasnex]

On electric bass guitar your preferred method of 2,1,2 would be what I’d use and/or teach. But on upright I’d use/teach the 4,2,4 fingering as demonstrated in this video, as it is a much stronger fingering pattern on upright that keeps your hand firmly anchored in 1st position (especially for beginners).

Take the comment as IMHO and YMMV.

I started on upright and played it through my professional career. I feel 2,1,2 is much stronger than 4,2,4, but YMMV.

I grew up on Simandl and 4,2,4 (G,E,F) is considered half position. As far as I remember, half position is taught after you learn first position.

As a veteran player I completely stopped thinking in terms of positions. I also eventually abandoned pivots on upright as I never could seem to use them to my advantage. Oddly I use them quite a bit on bass guitar. I also use one finger per fret on bass guitar...and feel 2,1,2 is strongest option for this pattern.

 

[Wasnex]

This is the only recording I found where keeping the bass ostinato the same seems to work really well. Very musical. It also seems to groove better than the original IMHO.

 

[Don Kasper]

I attended (in 1980 or so) a master class of Ron Car.....oops, MR. Carter...who was adamant about the bassline ostinato on All Blues is to be played throughout the tune, both Melody and Solos. He was ADAMANT, I say.
Also - note how Paul Cham..., oops, MR. Chambers... misses the Eb7#9 @ 1:02 on the recording - he plays a "D" there instead of an Eb. Interesting.
All Done.
Thanks.

 

[HelpImaRock]

I saw Miles play this song at a half dozen shows. Every time it was at a different tempo, with a different band, with different changes, and what seemed like multiple keys. He would laugh out loud for days seeing people micromanage every note & phrase. It comes from the heart, not a math textbook.

None of that is helpful in learning a song the first time while building repertoire. It's certainly helpful in the performance in the moment.

Take the comment as IMHO and YMMV.

I started on upright and played it through my professional career. I feel 2,1,2 is much stronger than 4,2,4, but YMMV.

I grew up on Simandl and 4,2,4 (G,E,F) is considered half position. As far as I remember, half position is taught after you learn first position.

As a veteran player I completely stopped thinking in terms of positions. I also eventually abandoned pivots on upright as I never could seem to use them to my advantage. Oddly I use them quite a bit on bass guitar. I also use one finger per fret on bass guitar...and feel 2,1,2 is strongest option for this pattern.

I tried the 424 fingering on bass guitar and while yes, it's all right there, it seemed like too much effort. 212 was just less movement. So I'll continue with that.

 

[Wasnex]

there is no change of chord, there is a change of mode

I agree the mode changes for the bass...This is a useful way of thinking, but also a difference without a distinction if you continue with the exact same G ostinato.

However the piano changes notes, so IMHO the chord changes.