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Open blues jam players.....

#101
SR505bassman said:
I love all this info! But - I have to say that the more I read the scarier it sounds to do a jam - so much to know off the top of your head! I was kinda feeling ready to go to my first jam - but I think I have a lot more to memorize first! I appreciate the heads-up - maybe I can avoid a trainwreck by being more prepared than I am now. Thanks again to all of you :-)
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Just go to a jam where nobody knows you. Most of the jam nights I go to are fun because you have all different level players. The good ones will usually help you out because they know you're new. I've gotten quite a few gigs from people I have met a Jams. Gotta get you feet wet if it's what you want to do.
 
#102
Leroy La Qua said:
Ed Friedland in his book refers to the Uptown Down pattern as R P5 m7 P8 and the Uptown Up pattern as R P8 m7 P5 which seems kind of counter intuitive to me.

Anyone else got a take on common names for these shuffle box patterns?
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I've always heard those referred to as "Chicago shuffle going up" or "Chicago shuffle going down"

Also around here it's "fast 4"

All the same stuff just different names.

Lots of great info here for anyone who hasn't played much blues.
 
#103
Steve said:
slam the gates on the chorus!
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Jayhawk said:
Understood everything except this. :confused:
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Here's another link to "Slam the Gates" I found on TB in reference to a cover of Tobacco Road by Eric Burden.

Deathblade Eric said:
The Intro is a classic example of "coming down from the Five" i.e. D - C - G - D & then back to the One (G) for the start of the first verse.The verses are just F - G, let 'em ring apart from the last G where you "slam the gates" i.e. an emphatic stop. The Chorus hangs on the IV (C) one more time than you'd expect, 3 rather than 2, then up to the V (D) & slam the gates again on the IV. Then repeat.
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See video here:

Related term: stop time

DavidCertain said:
I haven't read yet in this thread where anyone mentioned the device "stop time." The band plays in unison on beat 1 of of each bar, usually 4 bars it will last sometimes longer or even indefinitely (as long as the singer has enough to talk), and the singer or soloist fills in the space. Time stops for no man, the beat keeps going, just you rest on 2, 3 and 4. Elvis's "Heartbreak Hotel" is the best example I can think of: "Since mah baby left me... " Blues Suede Shoes, "and it's a one for the money, two for the show...." Oh, and Route 66 "Don't forget Wynona, Kingman, Barstow, San Bernardino" etc.

Anyway, people will say, "It's gotta a stop time in it" or "Watch me for the stop time" and they'll waive their arm or something.
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#104
Acousticdude said:
Just go to a jam where nobody knows you. Most of the jam nights I go to are fun because you have all different level players. The good ones will usually help you out because they know you're new. I've gotten quite a few gigs from people I have met a Jams. Gotta get you feet wet if it's what you want to do.
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Thanks for the encouragement - that's exactly what I'm going to do this Sunday. Going to go 1st time w/o my bass to just check it out, then go back the next week to play. I recently talked to a bass player that knows some of the people who run this one and he said its a pretty nice crowd that shows up. Looking forward to it :hyper:
 
#106
I really appreciated this thread which I found as part of research about blues jams, open jams, etc. It was a great refresher on the various terms used, especially for chord changes and rhythms.

I also liked the variations suggested for "Stormy Monday" which is often requested, and I also tried this one:

Bassmickeyd said:
Stormy Monday Changes 12-bar blues
G/// C/// G/G#/ G///
C/// C#aug./// G/A-7/ B-7/Bb/
A-7/// D#/D7/ G/// D7///

- means minor chord. Played as 1/G, minor 3/Bb, 5/D
To play the C aug. chord first play the C triad chord C E G then the C# augmented chord C# E G. This works great anywhere during another players solo.
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Is it really C# augmented or C# diminished? I did like the C#dim.

FWIW, I've sometimes used aug on the last V chord, i.e., D aug which is D F# A#.
 
#110
There's some great information here. As for the notated scanned examples on the first page, remember this is the rhythm of the SONG, and not necessarily of the bass line. Start playing that bumpa-bumpa stuff in a shuffle, and I'd get fired! You're not the guitarist. Quarter notes, or a complimentary groove. Sometimes you need that bumpa bumpa stuff, but most of the times it kills the groove quick smart!
 

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