walking bass line examples over the all blues changes

[g-dude]

If you can walk down the street while counting in "3" in your head, are you not still walking down the street?

Doing that would drive me absolutely crazy!

I was once told at church that we'd be playing a "jazzy" song (uh oh). It was "Have Yourself a Merry Little Christmas", but it was in 6/8 because the WL seemed to be ignorant of swing eighths and he thought it sounded like 6/8 - it wasn't like he was some ancient guy, he was younger than me...but he used the term "jazzy", which tells you a lot.

 

[Spin Doctor]

Hoping someone can help me out. Never really learned walking bass lines. Anyone have any examples they could share of walking bass lines over the Miles Davis All Blues changes?
Thanks
Paul

Maybe this will give you some ideas. The actual walk starts about time 0:35.

 

[pmatz2]

Maybe this will give you some ideas. The actual walk starts about time 0:35.

Cool Thanks - any details on who this is and what album its from? Shazam came up empty

 

[Spin Doctor]

Cool Thanks - any details on who this is and what album its from? Shazam came up empty

It's not on any CD. It's done by a Canadian Bassist named Chris Tarry. I found it in some lesson material he was giving away. I'm in a trio with that same vibe, more or less, so it seemed like some good stuff to work from.


Here is a sample of the band if you're interested. Most times you never hear what TB people sound like but I don't care, lol.

 

[Spin Doctor]

Pet peeve tangent: why is it that so many renditions of All Blues, including the purported instructional video linked earlier in this thread, get the changes wrong? In Miles Davis's version, the change is from G to Gm, not G to C7. And the bass repeats the G pattern (i.e., does not change to a C pattern as in a conventional blues) until the turnaround.

I hope someday the correct chords will become common knowledge and people will stop playing those bar band changes.

I think it depends on the band format. In the original, Winton Kelly is clearly going to C7 while PC stays in G. But if you're playing in a guitar trio for instance, and the guitarist has to solo, somebody needs to play that C7.

You need that harmonic motion and staying in G just because PC did, would be missing the entire point of playing music. Because now, you're not even being musical. You're just being a Jazz Robot. But everybody is free to do what they want.

 

[Whousedtoplay]

Depends on the band format. In the original, Winton Kelly is clearly going to C7 while PC stays in G. But if you're playing in a guitar trio for instance, and the guitarist has to solo, somebody needs to play that C7.

You need that harmonic motion and staying in G just because PC did, is in my opinion, missing the entire point of playing music. Because now, you're not even being musical. You're just being a Jazz Robot. But everybody is free to do what they want.

Just two points.
1. PC keeps playing that "pedal tone riff" in G.
2. I hear more of C7 than just Gmin. There are more hints of C7.
3. The head (in that questionable C7 spot) is - a la - F major.

I would not be so categoric (like some of our TB members) attacking the notation of C7.

 

[Febs]

Yes...Happens all the TIME!. 3/4 can be swung.
Thx.

For sure.

 

[pmatz2]

It's not on any CD. It's done by a Canadian Bassist named Chris Tarry. I found it in some lesson material he was giving away. I'm in a trio with that same vibe, more or less, so it seemed like some good stuff to work from.


Here is a sample of the band if you're interested. Most times you never hear what TB people sound like but I don't care, lol.

Cool Groove - Thanks for sharing

 

[mambo4]

lots of 'jazz waltzes' get extra fun when they break into a walk

You're absolutely right, I was remiss in not thinking of the long tradition of Jazz Waltzes.

here's a common formula: after the head = walk! tons of examples, but here's a famous one:

I have never heard that in my not very deep Jazz experience. Indeed that sounds like a 3/4 walking line, great example. Seems like the sort of thing @pmatz2 was looking for.

When I imagine 3/4 or 6/8 Jazz It's All Blues or My Favorite Things where a traditional "walk" seems absent

I suppose the wonder and challenge of walking 6/8 is the variety of ways we could cast what in common time would be our quarter note. We could walk by playing only the one, or the 1 and the 3 as a sort of cut time, or as a 3/4 like in @JRA 's example. I suppose tempo would inform that choice.

 

[FatStringer52]

Mark did a lesson not too long ago re: walking in 3/4. Might be some ideas within . . .

 

[Ed Fuqua]

Apparently Horace Silver NEVER wanted the bassist to walk in three, he wanted him to keep that loping ONE feel...

 

[Guitalia]

I think it depends on the band format. In the original, Winton Kelly is clearly going to C7 while PC stays in G. But if you're playing in a guitar trio for instance, and the guitarist has to solo, somebody needs to play that C7.

You need that harmonic motion and staying in G just because PC did, would be missing the entire point of playing music. Because now, you're not even being musical. You're just being a Jazz Robot. But everybody is free to do what they want.

I agree that the bass in the original recording is buried in the mix such that if you're expecting the conventional G to C to G blues patterning, then that's what you'll hear, apparently. At least a lot of people seem to have been unable to hear that the bassist doesn't change to a C pattern. But every Miles Davis recording of All Blues I've come across sticks to the G to Gm pattern, unlike the endless versions from the rock-guy-dabbling-in-jazz players who think that everything with "Blues" in the title has to be a I-IV-V under penalty of law.

Another Miles Davis example of All Blues, with the bass loud enough in the mix so that I presume everyone here can hear that the bassist stays with the G pattern throughout until the turnaround:

 

[Spin Doctor]

I agree that the bass in the original recording is buried in the mix such that if you're expecting the conventional G to C to G blues patterning, then that's what you'll hear, apparently. At least a lot of people seem to have been unable to hear that the bassist doesn't change to a C pattern. But every Miles Davis recording of All Blues I've come across sticks to the G to Gm pattern, unlike the endless versions from the rock-guy-dabbling-in-jazz players who think that everything with "Blues" in the title has to be a I-IV-V under penalty of law.

Another Miles Davis example of All Blues, with the bass loud enough in the mix so that I presume everyone here can hear that the bassist stays with the G pattern throughout until the turnaround:

I think you're missing my point which has nothing to do with the bass being buried in the mix.

I know what he's playing, but I also know how to play with people. And you do what's necessary convey a harmonic sentiment, rather than having to be a slave to what somebody did before. What you need to play, depends on the situation and the band format that you're in at that moment.

It's fine to say, "well Miles Davis did this and Miles Davis did that" But what if there's only two of you? What if you don't have a piano to carry the harmony?

 

[Guitalia]

I think you're missing my point which has nothing to do with the bass being buried in the mix.

I know what he's playing, but I also know how to play with people. And you do what's necessary convey a harmonic sentiment, rather than having to be a slave to what somebody did before. What you need to play, depends on the situation and the band format that you're in at that moment.

It's fine to say, "well Miles Davis did this and Miles Davis did that" But what if there's only two of you? What if you don't have a piano to carry the harmony?

You're absolutely right that without a piano to carry the harmony, something seems missing. But if the guitar (assuming that you're talking about a guitar-bass-drums lineup) plays the main riff outlined by the two horns in the head as diads, the G-to-Gm-to-G flavor is preserved. At least, that's the way the guitarist in the trio with whom I played most recently played it. The flatted B in the guitar's diad against the G in the bass works to convey the Gm tonality. I suggest trying it at least one time in your ensembles.

I can understand thinking that there's nothing wrong with going to the C, especially if you think the substitution is of trivial importance. I don't. For me, the G-C-G move in All Blues is one of those you-can't-unhear-this missteps that grate every time I hear them.

At the very least, I wish that the people who put up All Blues instructional videos would acknowledge that they're deliberately changing the chords, if they aren't doing it simply out of ignorance.

 

[pmatz2]

So I have the "official transcription" - don't read treble clef

I assume the Gm tonality is on the right side of page and one of the notes under the 4th measure is a Bb?

Thanks Paul

 

[Spin Doctor]

So I have the "official transcription" - don't read treble clef

I assume the Gm tonality is on the right side of page and one of the notes under the 4th measure is a Bb?

Thanks Paul


View attachment 4751773

There are no Bb's in that transcription. Nor do I see any notation of Gm. Also, for trivia purposes, the names in the little boxes tells you who played what. Bill Evans didn't play on All Blues. Winton Kelly did. Make what you will of all that. I guess it's All Blues, but don't play the blues... Whatever. The C7 is probably implied by whatever voicings the piano player chooses to use, since Miles never spelled out what anyone was supposed to do.

If I were you, I'd just listen to it and learn the song. It's not that hard. If you wanna vamp on the G figure the entire time, go for it. If you want to play it like a traditional blues, moving from I-IV, go for it. It's just music. Don't turn it into a mind bender, because it's about the easiest jazz tune there is.

 

[pmatz2]

There are no Bb's in that transcription. Nor do I see any notation of Gm. Also, for trivia purposes, the names in the little boxes tells you who played what. Bill Evans didn't play on All Blues. Winton Kelly did. Make what you will of all that. I guess it's All Blues, but don't play the blues... Whatever.

If I were you, I'd just listen to it and learn the song. It's not that hard. If you wanna vamp on the G figure the entire time, go for it. If you want to play it like a traditional blues, moving from I-IV, go for it. It's just music. Don't turn it into a mind bender, because it's about the easiest jazz tune there is.

I agree with you as long as it sounds musical I’m good. - with all the conversation about the chord changes. I thought I’d share another documented perspective. I’ve listened and clearly hear the pedal on G. Thanks for all your input it’s been greatly appreciated.

 

[Spin Doctor]

I agree with you as long as it sounds musical I’m good. - with all the conversation about the chord changes. I thought I’d share another documented perspective. I’ve listened and clearly hear the pedal on G. Thanks for all your input it’s been greatly appreciated.

Making music is the ONLY thing that matters.

 

[Whousedtoplay]

There are no Bb's in that transcription.

There is no Bb in that transcription because it's transcribed for various other instruments - trumpet, alto/tenor sax.
Also, there is C7 for the piano.

The C7 is probably implied

Yes, indeed!

 

[Whousedtoplay]

If you wanna vamp on the G figure the entire time

Some extra thoughts.
If the track is in 6/8 or 3/4, then, we we have G7 and G7/F.

Most web-sites discussing All Blues tend to emphasize the dichotomy of that "Gmin or C7".

"Many people play a C7 in the 5th and 6th measure. This is not entirely correct because the bass keeps playing a G, while the piano player plays variations of C7.

The mode to use on that part of All Blues is G Dorian."