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Double Bass Oleo

#21
WillBuckingham said:
I did the first few choruses from "Relazin'". That's where everyone lays out 'cept PC and Miles on the A sections. The bassline is pretty weird, but very interesting. I could scan it and pm it to you if you're interested, though it's pretty sloppy.

-Will
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Sure man, I'd love to see it.
I think I tried that one years ago; don't know how much I actually got, and don't have it anymore.
 
#22
actually, I have PC's bassline for Oleo on Relaxin', from beginning to end except for the unison melody and his brief solo, since I was only interested in his bassline over rhythm changes at the time. His line is pretty interesting, since PC is the master of the "melodic" bassline, if you wanna see my version you can pm me, though in what I did, I wrote down some funny notes that I heard PC play, I dunno if this is a case of PC playing wrong notes since the tempo wuz so fast, bad intonation, or just me transcribing it wrong.
 
#23
download Chops: Neils Henning Orsted Pedersona and joe pass and slow it down - all you need to know - or get jamey aebersold "rhythm section" they have a good transcription - or of course the many bird tunes written over rhythm changes.

For a quick approach remember you do not have to play every change so in the first two measures while you can play Bb,B, Cm7, F7 you can also play in Bb the entire time - when you see Fm7 to Bb7 just play the Bb7. Sooner or later you will start to hear how you can play the changes or over top of the changes for a different feel - it is tough though - take it really slowly and plractice it in several parts of the bass after you master the first five frets [you should be able to play the entire tune all day in the first five frets.] good luck
 
#24
AZNBassist said:
actually, I have PC's bassline for Oleo on Relaxin', from beginning to end except for the unison melody and his brief solo, since I was only interested in his bassline over rhythm changes at the time. His line is pretty interesting, since PC is the master of the "melodic" bassline, if you wanna see my version you can pm me, though in what I did, I wrote down some funny notes that I heard PC play, I dunno if this is a case of PC playing wrong notes since the tempo wuz so fast, bad intonation, or just me transcribing it wrong.
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You're probably better off with AZNBassist's version. There are some pretty "weird" notes in there, and it's probably not the best place to start for learning rhythm changes, but it's definitely a great thing to study.
 
#26
for the benefit of those who are just beginning to learn to cope with these changes, i suggest you don't just think of connecting chords chromatically but also take liberal advantage of your open stings, esp. the upper ones, to act as passing tones, they all will work diatonically in B flat major... it's true that a serious jazz musician can do this stuff in any key, without open strings, but B flat major? you gotta be ready to slam dunk that one, and it is a great key to do some very idiomatic upright bass stuff anyway...
 
#27
hi I'm bringing this thread back because I'm also learning oleo and wanted to check that these are the correct chords
http://www.songtrellis.com/picture$1241
This seems slightly different to the chords that my teacher had in his book.
I don't have the real book. which version should I get?

my teacher gave me this exercise to deconstruct the song and first learn each chord on my bass.
 
#29
What I do is approach all of the changes (verse) with semi-tones from above or below and it sounds cool.

What's nice about this is that it allows me to play in one position for most of the time (except for the chorus) and keep a good driving rhythm/pulse for the whole tune. And to top it off it doesn't sound "hoakey" to me either.

Peace
 
#30
AZNBassist said:
actually, I have PC's bassline for Oleo on Relaxin', from beginning to end except for the unison melody and his brief solo, since I was only interested in his bassline over rhythm changes at the time.
Click to expand...

This is an excellent place to start. I also have transcribed this line and still use many of PCs patterns.

If you find this to be a challenge, start by transcribing "tranes blues" off the same record. It's a blues and it's slower. You should be able to get off the ground with transcribing some PC with this blues line.

Three ring punch your transcriptions and keep them for life. If you had done this at the beginning of the year and simultaneously invested in the US stock market, your transcriptions would be giving you a much better return on your initial investment!;)
 
#31
FredH said:
Oops, this is what I should have written.

| BbM7 | Cm7 | Dm7 | Cm7 | BbM7 | Cm7 | Dm7 | Cm7 |
| BbM7 | Cm7 | Dm7 | Cm7 | BbM7 | Eb-E-F-- | F-D-G-D | C-G-F |
| D7 | D7 | G7 | G7 | C7 | C7 | F7 | F7 |
| BbM7 | Cm7 | Dm7 | Cm7 | BbM7 | Eb-E-F-- | F-D-G-D | C-G-F |

You can play 1-1-5-5 or arpeggios, mix it up.

But this is just one of the chord patterns that will fit. Use the standard chord vocing that you see in the RB. But it's great to have more than one trick, specially with the changes.
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Sorry, this is not the standard set of chord changes that accompanies 'rythm changes'. However your changes in the bridge are right.

It's:

I - VI -ii - V - iii (or I again) - VI - ii - V - I, I7 - IV7, #IV dim - I - VI - ii - V

Of course there are variations, and you will often see PC play either a third or sometimes a fifth instead of the root. But def go for the transcription. You will develop your ears and learn so much more than reading things here on TB.
 
#32
Here's a pdf. The hippest part of this piece are the variations of the more "vague" parts. For example, the way he ends A1, A2, and A3. You can see that many different turnarounds work. Some outline changes and some are simply melodic. The other thing I like is he makes mistakes, just like all of us. Swings the crap out of them though. Enjoy.
 
#33
PeterChampagne said:
Here's a pdf. The hippest part of this piece are the variations of the more "vague" parts. For example, the way he ends A1, A2, and A3. You can see that many different turnarounds work. Some outline changes and some are simply melodic. The other thing I like is he makes mistakes, just like all of us. Swings the crap out of them though. Enjoy.
Click to expand...

Paul didn't write Oleo as your link says. Sonny Rollins did.
The standard way that most jazz bassists approach the head, at least in a session setting, is to play the head figure only with bass notes.
And, judging from some of the changes you guys are coming up with, you're in a world of trouble.
 
#37
Yeah, I'm also learning this tune (been playing it with a band for some time but haven't had the time to reall work on it) and alot of you seem to be making up some different chords or something. From Real Book it's: Bbmaj7 G7 | C-7 F7 | Bbmaj7 G7 | C-7 F7 | like Warwickthumb posted it. It's not one chord per bar.
 

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