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Double Bass Eddie Gomez with Bill Evans

#22
Paul Warburton said:
Err, ahh, oops....it was a typo, yeah that's what it was, just a little typo and now that you've quoted my post, I can't sneak up and fix it. Damn you......:hiding:
Click to expand...

Mr. Warburton,

I feel just terrible. Bb?/Eb? what's the big deal...

OT - did you ever work with the Los Angeles pianist Frank Strazzeri? I'll bet you did.
Thanks for you time and expertise.
 
#23
My thought was that there was some specific information that was there for the head and that's what was being read. And then the stand is just that thing that he's staring past. Cause he's still looking at it during his solo and there's lots that is just not on the changes.
 
#24
Ed,
It seems like the sheet might be specifying some changes that BW likes(?), as a jumping-off point?:
bar 2: Gmin7b5 - C7b9 ( instead of Edim7)
bar 4: Amin7b5 - D7b9 ( instead of F#dim)
bar 6: Abmin7 - Db7
bar 15 : F#min7- B7 (then to Fmin7 - Bb7 in bar 16).

Also, in bars 25/26, they don't seem to ever be playing Aminb5/Abmin6 - Db7 ( The "Amin7b5" can be kind of a nice change there), but play 25/26, instead, as Fmin7 / Abmin6 - Db7, like bars 9/10.

Thanks,
 
#25
I've been playing with Bennie for a couple of years now, and have discussed this video with him so first of all when Ed says

My thought was that there was some specific information that was there for the head and that's what was being read
Click to expand...

he's right, the sheet Bennie gave him has the melody in bass clef. I can't remember everything Bennie told me about that gig, but i think Charnett was filling in for somebody, maybe Eddie. Bennie probably would have wanted Charnett to play the melody with him but that's a very hard thing to play on the bass, especially on short notice (it's actually pretty hard on tenor too, as easy as Bennie makes it sound). I think there was some issue with Charnett knowing the tune, so Bennie may have written out the changes he wanted. And speaking of that, Don, all of this

It seems like the sheet might be specifying some changes that BW likes(?), as a jumping-off point?:
bar 2: Gmin7b5 - C7b9 ( instead of Edim7)
bar 4: Amin7b5 - D7b9 ( instead of F#dim)
bar 6: Abmin7 - Db7
bar 15 : F#min7- B7 (then to Fmin7 - Bb7 in bar 16).

Also, in bars 25/26, they don't seem to ever be playing Aminb5/Abmin6 - Db7 ( The "Amin7b5" can be kind of a nice change there), but play 25/26, instead, as Fmin7 / Abmin6 - Db7, like bars 9/10.
Click to expand...

is dead on, those are exactly the changes Bennie would have wanted, and the ones we play now. Bennie is a great guy and really fun to play with, the only problem with playing bass with him is that he got so used to Eddie G being able to play that sort of thing pretty much perfectly at any tempo that there's a lot of pressure to be able to do it too.

And Don, i grew up in Rochester playing tenor, and used to see you at the Eastman and playing around town a lot. Me and my best friend actually hired you to play a gig with us once. Dig this -
new doc_1.jpg
We had no idea your name was spelled with a K, we were really embarrassed
 
#26
Michael,

Thanks for your insight into the BW video. Congratulations on your success in NYC - the Center of the Jazz World(!).
I might be full of s**t, but did we play a tune of Joe Lovano's called "In the Jazz Community" on the Indigo's gig? I recall getting my a** kicked on that tune. Were you studying with Joe L. at the time? (I might be hallucinating).

Bennie sure is not a "cookie cutter" tenor player - I first heard him as part of a group of tenor saxophonists that were moving away from the Michael Brecker sound and approach - (Ralph Lalama and Joe Lovano come to mind from that time).
His playing really shook me up, some. In a good way. A real individual, identifiable sound and concept.
Regarding the "sheet" on the stand - I think it makes for a better performance if there is some decision made, verbal or written, when playing a Standard, or writing a new melody over a Standard, at least as a starting point. I think it made a difference here - IMHO.

As to my last name, it's cool, as long as the check clear$!

Thanks for your time and expertise.
Don Casper/Kasper.........
 
#27
iona bass said:
Michael,

Thanks for your insight into the BW video. Congratulations on your success in NYC - the Center of the Jazz World(!).
I might be full of s**t, but did we play a tune of Joe Lovano's called "In the Jazz Community" on the Indigo's gig? I recall getting my a** kicked on that tune. Were you studying with Joe L. at the time? (I might be hallucinating).

Bennie sure is not a "cookie cutter" tenor player - I first heard him as part of a group of tenor saxophonists that were moving away from the Michael Brecker sound and approach - (Ralph Lalama and Joe Lovano come to mind from that time).
His playing really shook me up, some. In a good way. A real individual, identifiable sound and concept.
Regarding the "sheet" on the stand - I think it makes for a better performance if there is some decision made, verbal or written, when playing a Standard, or writing a new melody over a Standard, at least as a starting point. I think it made a difference here - IMHO.

As to my last name, it's cool, as long as the check clear$!

Thanks for your time and expertise.
Don Casper/Kasper.........
Click to expand...

I was studying with Joe, so yeah, we probably did play that tune. I don't remember a lot about it other that it started with a ii/v in E major. I used to play that and a couple of other tunes from Joe's first record (with Mel, Dennis and Kenny Werner) in my lessons. He was the best teacher i ever had for any subject, i was so lucky to get with him right as he was making his move from everybody's sideman to leader, a few years later and he wasn't teaching anymore.
And Bennie and Joe and Ralph and a few other guys really did make a break from the Brecker thing, though BW is a few years older than them. Bennie is deep, encyclopedically deep into Hawkins as well as Don Byas, Lockjaw and the like, and also a lot of Sonny Rollins and Bird. And when i asked him where he came up with the intervallic stuff that's such a hallmark of his playing, he said it was inspired by Monk's playing. He's really a fascinating guy all the way around, i'm really glad i got to know him and to play with him. As per the sheet, it was definitely needed in that situation, if it had been Eddie or any of his subsequent bass players it wouldn't have been necessary and wouldn't have been there.
And Don, if i ever have the pleasure to pay you for your services - Kasper it is! Great to run into you here after all these years
 
#30
milomo said:
I was studying with Joe, so yeah, we probably did play that tune. I don't remember a lot about it other that it started with a ii/v in E major. I used to play that and a couple of other tunes from Joe's first record (with Mel, Dennis and Kenny Werner) in my lessons. He was the best teacher i ever had for any subject, i was so lucky to get with him right as he was making his move from everybody's sideman to leader, a few years later and he wasn't teaching anymore.
And Bennie and Joe and Ralph and a few other guys really did make a break from the Brecker thing, though BW is a few years older than them. Bennie is deep, encyclopedically deep into Hawkins as well as Don Byas, Lockjaw and the like, and also a lot of Sonny Rollins and Bird. And when i asked him where he came up with the intervallic stuff that's such a hallmark of his playing, he said it was inspired by Monk's playing. He's really a fascinating guy all the way around, i'm really glad i got to know him and to play with him. As per the sheet, it was definitely needed in that situation, if it had been Eddie or any of his subsequent bass players it wouldn't have been necessary and wouldn't have been there.
And Don, if i ever have the pleasure to pay you for your services - Kasper it is! Great to run into you here after all these years
Click to expand...


Michael,

Nice to hear from you after all these decades. Continued success to you on BOTH bass and sax. ( I feel like MORE of a slacker, now, thanks to you...). I have added "In the Jazz Community" to my bucket list of tunes to revisit.
Thanks for the solid info on the BW YouTube and Bennie's approach and influences.

Also - go easy on Ed, he's just jealous!

Thanks,
 
#37
Ed Fuqua said:
If y'all like that one, check out the Joe Lovano rekkid FROM THE SOUL - Joe, Michel Petrucciani, Dave Holland and Ed Blackwell
Portrait of Jenny
Click to expand...

Ed,
Yes!
Piano solo quotes "The Peacocks" literally and liberally.
Interesting combination of players - I wonder who made those choices?
How did I miss this recording? (please don't answer).
Thanks for the link.
 
#40
oliebrice said:
It's Lovano's album, so presumably he did! Holland and Blackwell always sound great together

the whole album is fantastic
Click to expand...

oliebrice,

I guess I was referring to the choice of Michel Petrucciani, who was also a Blue Note artist at the time, and whether the Label had a say in his inclusion. Just thinking out loud.
Just to be clear - He sounds great on the track(!).
Thanks.
 

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