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Oleo thoughts

SanDiegoHarry

SanDiegoHarry

Inactive
Supporting Member
Aug 11, 2008
17,143
9,104
San Diego, CA
#1
So I'm in this new band, and the guitarist wants to do a side thing with realbook tunes - I'm all for that, since it would be a fine learning experience.

The first tune he wants to do is Oleo, which is a *fairly* blazing piece of music. I went to REALBOOK.US to eyeball the chart - and the changes look pretty straight forward...

But the recordings I have of it just RIPS so damn fast it's hard to hear...

I'm open to any suggestions from folks who know/play this fine tune - keeping in mind that I'm still a learner when it comes to walking/running bass parts

thanks!
 
#5
Not to put too fine a point on it, but you kinda need to be at a place that you can hear that the changes to this are the same as the changes to ANTHROPOLOGY or MOOSE THE MOOCHE or I GOT or FLINTSTONES or any of the multitude of other tunes that use the same harmonic framework.

Cause it's not like you're playing the bass part to OLEO (like you'd play the bass part to SMOKE ON THE WATER); you're playing a line based on the chord changes that responds to what the other musicians are playing.

It's like driving from San Diego to LA, if you are from around that area there's a buncha ways you can go depending on whether you want to get there the fastest or take the most scenic route or route that is longer but has less traffic or that takes you through the mountains or whatever. But if this is the first time you are behind the wheel of a car, well you see where I'm going...
 
#6
Ed Fuqua said:
Not to put too fine a point on it, but you kinda need to be at a place that you can hear that the changes to this are the same as the changes to ANTHROPOLOGY or MOOSE THE MOOCHE or I GOT or FLINTSTONES or any of the multitude of other tunes that use the same harmonic framework.

Cause it's not like you're playing the bass part to OLEO (like you'd play the bass part to SMOKE ON THE WATER); you're playing a line based on the chord changes that responds to what the other musicians are playing.

It's like driving from San Diego to LA, if you are from around that area there's a buncha ways you can go depending on whether you want to get there the fastest or take the most scenic route or route that is longer but has less traffic or that takes you through the mountains or whatever. But if this is the first time you are behind the wheel of a car, well you see where I'm going...
Click to expand...

I get what you're saying - I know there are "no bass parts", as such, in jazz like this - it's an approach, not a part, so I'm not asking for someone to tell me "what to play" - just some suggestions as to approach - and I'm getting them.

thx
 
#9
songs that have a blazing pace, its generaly good to find a pattern that you can just grab really quick.

they way i've walked that tune is put the Bb on the E string under you pinky.

now you have Bb G C F as you main progression.

so |Bb-A-G-Bb|C-G-F-A|
repeat that. then
|Bb7|Eb7| a bar a piece

then go up for the high |Bb-A-G-F|Eb-C-G-A|

there is your A section. repeat that then the bridge is a cake walk

good luck
 
#10
Kobaia said:
songs that have a blazing pace, its generaly good to find a pattern that you can just grab really quick.

they way i've walked that tune is put the Bb on the E string under you pinky.

now you have Bb G C F as you main progression.

so |Bb-A-G-Bb|C-G-F-A|
repeat that. then
|Bb7|Eb7| a bar a piece

then go up for the high |Bb-A-G-F|Eb-C-G-A|

there is your A section. repeat that then the bridge is a cake walk

good luck
Click to expand...

Okay, not to sound like a complete dim-bulb here, but the pattern you describe - is that not a Bb7 pattern to begin with (thus making the Bb7 after it redundant) - or am I missing something?

thx
 
#15
BigOldHarry said:
Okay, not to sound like a complete dim-bulb here, but the pattern you describe - is that not a Bb7 pattern to begin with (thus making the Bb7 after it redundant) - or am I missing something?

thx
Click to expand...
the A is a Major 7th of Bb. so its BbMaj7 to G7 to A-7 to F7

then there is a 2-5 of I into the 2-5 of IV so its basicaly I IV or Bb Eb


what ever thats the way i think of it
 
#16
Kobaia said:
the A is a Major 7th of Bb. so its BbMaj7 to G7 to A-7 to F7

then there is a 2-5 of I into the 2-5 of IV so its basicaly I IV or Bb Eb
Click to expand...


No, it's Bbmaj7 to Gm7 to Am7 to F7. That's a I-vi-ii-V for those keeping score at home.
 
#18
Kobaia said:
the Changes are G7. I'm adding a #9 tension on it which is diatonic to the chord that would naturally fall on the VI- chord in the key of Bb. so its is a G7(#9).

you know for those keeping score at home
Click to expand...


I don't know where you're getting your changes, but a 1-vi-ii-V is far more common for Rhythm changes...
 
#19
Pacman said:
I don't know where you're getting your changes, but a 1-vi-ii-V is far more common for Rhythm changes...
Click to expand...
I'm fairly sure its V7/II- in the Realbook
opmwlu.png
 

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