Yes, I was at Upstairs, on the Jazz festival there was a jam hosted by chet Doxas every day.
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Double Bass Why memorizing a tune
- Thread starter bassbuddie
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Yes, I was at Upstairs, on the Jazz festival there was a jam hosted by chet Doxas every day.
Jam sessions are always a trial. The trick is to attend and know who plays what, as well as general knowledge of repertoire, obviously, but every town has its own standards. I'm originally from Montreal, but I live in London (UK, not Ontario!), and although a lot of what's considered standard material applies, people are into different things, and "jam session standards" fall in and out of fashion. Keep your ear to the ground, and the more you know, the better off you'll be. It's also a good idea to make the suggestions yourself, even though you're the bass player. You'll sometimes call out a tune that is appropriate to the moment ( a lot of standard forms and blueses, call a waltz you know well!), or at least you get the satisfaction of knowing that whoever called the one you don't know doesn't know the tunes you know!
By the way, Jim Doxas and his brother Chet are making very serious music, on standards as well as on their own musiz, and I haven't heard anyone play "standards" on the level of the Montreal cats these days, be it NYC or here in Europe, so bass lovers should look out for Morgan Moore, Rémi-Jean Leblanc, and Zach Lober in the years to come.
The Upstairs jam is a seriously good hang, check it out.
Hope this helps...
E.
By the way, Jim Doxas and his brother Chet are making very serious music, on standards as well as on their own musiz, and I haven't heard anyone play "standards" on the level of the Montreal cats these days, be it NYC or here in Europe, so bass lovers should look out for Morgan Moore, Rémi-Jean Leblanc, and Zach Lober in the years to come.
The Upstairs jam is a seriously good hang, check it out.
Hope this helps...
E.
Remi-Jean is amazing. He's so short and his bass is so high! It's ridiculous, I'm at least a head taller than him and his bass is the perfect height for me and I have my bass high even.
I've heard of Morgan Moore but never heard him. I really like Clinton Ryder, Adrian Vedady (my old teacher) and Remi-Jean Leblanc. I'd say those are my favourites.
I've heard of Morgan Moore but never heard him. I really like Clinton Ryder, Adrian Vedady (my old teacher) and Remi-Jean Leblanc. I'd say those are my favourites.
Some good points there !
So I find that in Jam sesssions over here - people very rarely call the standards of the Great American Songbook, that most Jazz Books reckon should be on your list of known tunes.
I think that previous generations - especially in the US grew up with these tunes - but current generation are unlikely to have ever heard these and so they make little sense and can often have "awkward" forms...?
In the UK I find you are far more likely to hear people calling "Jazz Originals" - like Blue Bossa, Song for my Father, Spain, Mr PC - things like that - although some standards have survived through association - so I often hear "Invitation" in the style that Jaco did it!
I also agree with you about calling tunes - I never feel I am "just" the bass player and often at jams I feel that I can take it where I want and have a lot of control - a favourite of mine to shout out is Monk's "Well You Needn't" - a memorable tune, simple sequence - but which can be pulled and pushed towards "free" - er blowing!
Yeah, I hate jam sessions for a lot of reasons. For one, they alway call songs I've never even heard of (or never was able to find the chart) and I've been a jazz snob for 20 years. Secondly, there are just too many songs to try to learn (in all 12 keys no less) by yourself with a metronome or drum machine (that's boring), that in reality you may never play. How are we supposed to know which songs to learn when there are thousands? Third, driving 40 minutes each way to play 2 songs and the (cheap) beers are $5 isn't my idea of a good time.
And I know someone said to use your ear to follow the changes. That is somewhat unrealistic (besides the fact that it's jazz and the changes can go in any direction at any time). Piano players don't comp that way (especially at a jam where they usually want to sound like Tyner or Monk) unless they are beginners, and horn players are usually useless for any reference. Besides, where I think the song is going, it usually does something else. Unless you play jazz all the time with real people (which is impossible in my area because everyone plays blues and classic rock:scowl:
) it's near impossible.
P.S. I don't think there are more than 2 other pro DB players here in Ft. Lauderdale besides myself and that's a guess because there has to be more than just me.
I hate being in S. Florida; absolutely no culture.
In the 10 years I've played DB I have found 2 jazz gigs for myself. One of which was steady and the other, a one time only gig that I think I lost because I don't have enough experience playing their style of jazz. Oh well, I know what to work on (I think). In the mean time I'll take whatever I can get.
Wow. Didn't mean to rant like that. I didn't know I had it in me. Sorry, but I do feel better.
And I know someone said to use your ear to follow the changes. That is somewhat unrealistic (besides the fact that it's jazz and the changes can go in any direction at any time). Piano players don't comp that way (especially at a jam where they usually want to sound like Tyner or Monk) unless they are beginners, and horn players are usually useless for any reference. Besides, where I think the song is going, it usually does something else. Unless you play jazz all the time with real people (which is impossible in my area because everyone plays blues and classic rock:scowl:
) it's near impossible.P.S. I don't think there are more than 2 other pro DB players here in Ft. Lauderdale besides myself and that's a guess because there has to be more than just me.
I hate being in S. Florida; absolutely no culture.
In the 10 years I've played DB I have found 2 jazz gigs for myself. One of which was steady and the other, a one time only gig that I think I lost because I don't have enough experience playing their style of jazz. Oh well, I know what to work on (I think). In the mean time I'll take whatever I can get.Wow. Didn't mean to rant like that. I didn't know I had it in me. Sorry, but I do feel better.
Rebop:
I don't mean any disrespect, but why don't you move if you are unsatisfied with the "culture" in your area? (and, yes, I am certain there are a myriad of logistical challenges in reply to a question like that.)
The SF Bay Area has a happening jazz scene right now. I'm not a part of it being a neophyte to jazz and DB, but I have had occasions of sharing the stage, studio or ensembles with the great players in the area.
The funny thing is, I live in a suburb of SF that is about as culturally inept as you describe. I simply have the good fortune of driving 30-45 minutes to where there is much more to offer.
I guess I can only speak for myself, but I seek out the satisfying opportunities for growth as a musician- no matter what the musical genre.
Mind you, I haven't done any jam sessions, because I too am overwhelmed by the repertoire (per some of the posts in this thread), but am trying to build it up project-by-project, or opportunity by opportunity, as I internalize the musical vernacular and common progressions in any given key.
Cheers,
drew
I don't mean any disrespect, but why don't you move if you are unsatisfied with the "culture" in your area? (and, yes, I am certain there are a myriad of logistical challenges in reply to a question like that.)
The SF Bay Area has a happening jazz scene right now. I'm not a part of it being a neophyte to jazz and DB, but I have had occasions of sharing the stage, studio or ensembles with the great players in the area.
The funny thing is, I live in a suburb of SF that is about as culturally inept as you describe. I simply have the good fortune of driving 30-45 minutes to where there is much more to offer.
I guess I can only speak for myself, but I seek out the satisfying opportunities for growth as a musician- no matter what the musical genre.
Mind you, I haven't done any jam sessions, because I too am overwhelmed by the repertoire (per some of the posts in this thread), but am trying to build it up project-by-project, or opportunity by opportunity, as I internalize the musical vernacular and common progressions in any given key.
Cheers,
drew
True, I learned some tunes and its getting easier. The tough part now is to recall them. I know that you will say, if you play them often you will recall them easier.
Here are some ideas that I have been using:
Get a rehearsal band going and create a list of "project" tunes. Blow them every week, week in and week out. Make a song list on an ipod or burn them on a CD with your "project" tunes and play along, again week in and week out. I record the practice sessions and then burn it to a CD and play along with that.
I worked on one tune all week last week. I worked out the melody and the changes with the lead sheet and played it with the metronome then I played along with it on the ipod and then blew it with the rehearsal band. Now I know it but then I will try and play it every chance I get to solidify it.
Then go to the jams and like was said earlier, call the tunes before someone else does. I bring my list since I tend to freeze and forget what I know. A good defence is a good offense.
Get a rehearsal band going and create a list of "project" tunes. Blow them every week, week in and week out. Make a song list on an ipod or burn them on a CD with your "project" tunes and play along, again week in and week out. I record the practice sessions and then burn it to a CD and play along with that.
I worked on one tune all week last week. I worked out the melody and the changes with the lead sheet and played it with the metronome then I played along with it on the ipod and then blew it with the rehearsal band. Now I know it but then I will try and play it every chance I get to solidify it.
Then go to the jams and like was said earlier, call the tunes before someone else does. I bring my list since I tend to freeze and forget what I know. A good defence is a good offense.
