Minority: Journey Through The Real Book

[@brianj4090]

Man that’s a fun solo to comp guitar behind

[@rondrotoskeyboardimprov9453]

I'd love to hear you do that!

[@adambartone9193]

Hey this was really neat. I have to play this tune 1 time a week at least in philadelphia(I'm an upright player) and I found this to be very informative. It reinforced a lot of what I already know and I learned some new things as well! Cheers

[@rondrotoskeyboardimprov9453]

Mission accomplished! Thanks for watching, Adam, and good luck with your music :)

[@TheOrdener]

Thanks so much! I love the explanation of the stylistic differences and their histories. Also, I dig the effect of switching to a single note walking bass when soloing. Usually I’m all about the harmonies, but that switch almost feels like a jazz counterpoint. (I heard Keith Jarrett do it last night on a solo version of Stella by Starlight to great effect.) Finally, at 13.54. I couldn’t help but exclaim, “Oh, hell yeah!”

[@rondrotoskeyboardimprov9453]

Thanks Mike! Yeah, there are a few recordings of Jarrett playing walking bass lines, and they're all wonderful. I think there's one piece on the Carnegie Hall Concert that's kind of like Rhythm Changes. By the way, that's a Herbie Hancock-style diminished scale lick at 13:54. It happened to come out right this time!

[@dwdei8815]

Ron that was great. The ideas just came leaping out one after the other. Loved the walking bass.

[@rondrotoskeyboardimprov9453]

Thanks! The walking bass really lends itself to a tune like this.

[@insidejazzguitar8112]

What a wonderful lesson. Deepened my understanding of the difference between bop and hard bob, as well as the difference between bop and swing. I never knew about the tax that sort of ended dancing of the swing era. That harmonica idea you demonstrated seems like a minor version of the sixth diminished idea of you made a video about recently.

[@rondrotoskeyboardimprov9453]

Yes, that's exactly right about the diminished 6ths!

[@smichener1]

WOW! It's beyond my abilities. Love the walking bass.

[@rondrotoskeyboardimprov9453]

Thanks! Walking bass lines are fun to play, and you can get started at slower tempos.

[@saxafterdark]

Always wondered how to interpret the harmony in this tune. Major 2,5's resolving to Minor or Minor 2,5 1's.

[@rondrotoskeyboardimprov9453]

Yep!

[@song4night]

Fantastic Ron! watching and listening to the conversation between both your hands was really fascinating.

[@rondrotoskeyboardimprov9453]

Thanks! This was fun to play.

[@pwg8379]

Wasn't hard bop influenced by gospel, R and B, and Blues a lot too? But yeah, I'm thinking the unison lines and riffs, like call and response, is very blues based. To me, a lot of bebop and hard bop just seems like you could classify it many ways, or the cool era, all seems intertwined. Bobby Timmons also great here, Moanin', loved the way they recorded the pianos those days too---nothing sounded as good as the recording procedures or some thing, had a unique way they recorded the pianos in the Blakey sessions?

[@rondrotoskeyboardimprov9453]

Good points about the gospel and blues influences. They influenced the Swing Era riffs I mentioned in the video, so I was looking at it that way with this brief overview. But yes, the hard boppers looked directly to blues, gospel and R&B too, as tunes like Freddie Freeloader, Bessie's Blues, and almost all of Mingus show us. Thanks for adding to the conversation!

[@larrysaidman1004]

I first heard this song as a vocal by Ben Sidran on his first album (1979). I found that thinking of his vocal version helps me relate to the tune. kzbin.info/www/bejne/kKvUZ3ikl55phbc

[@TTFMjock]

Most famous hard bop min 6: Cannonball and Miles’ Autumn Leaves

[@rondrotoskeyboardimprov9453]

A great recording!!!