The Real Swing Rhythm Guitar / Trad Jazz / Gypsy Jazz

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[@franckduval4797]

Bravo et merci Monsieur Chang , de la bombe rythmique

[@landonskalsky735]

‘Simplicity is king’ love that! Thanks for the video 😊

[@dswingle8695]

Lots of good advice, glad to have stumbled on your channel. Subscribed!

[@fretlessblunder]

This kind of granular detail is gold. I play in a number of big bands and sit-in with other trad jazz players---knowing how to quickly interpret feel and rhythm is key. Having the tools to morph into what is needed in the moment and respecting the style is always foremost in my mind. Thanks for shining a light on this Denis.

[@pickinstone]

Another great video about rhythm and pulse! I like what you said about interactivity--you definitely hear that in bebop as well. There's communication, but it's subtle--and that subtly of interaction makes the music swing more. I think that "jazz historians" got bebop wrong. Just because bebop "wasn't music for dancers" doesn't mean that it totally ignored the dance altogether. There's too much emphasis on harmony, and not enough talk about rhythm in bebop and beyond (maybe all jazz for that matter). You are part of the change, Denis. Continue to challenge the jazz ed paradigm!

[@wrtoomes600]

I like your analysis of the history of jazz in that time frame. Straight four, (2 - 4) four, and then La Pompe.

[@lugeroaccordion9957]

Great, good, stunning, fantastic,👏👏👏👏👏

[@allanlaskeyguitar]

I really think Bob Wills and the Texas Playboys should be more popular with Django guys.

[@gibful8671]

Merci Denis !

[@MrPETUGUE]

C'est tellement vrai ce que tu dis concernant les Jam Sessions Denis ! La partie rythmique s'en fout complètement !!! Mais alors TO-TAL ! Déjà, ils ne connaissent pas toujours le morceau ! Ou alors ils en ont une très vague idée (certains l'ont déjà entendu pendant une Jam ou alors n'en connaîssent qu'une seule version, jouée la plupart du temps par un guitariste contemporain). Jamais ils ne connaîtront les enregistrements historiques ! Le premier enregistrement par exemple, et tous les autres qui auront suivis, pendant les différentes périodes du Jazz. Mais pour en revenir sur la partie rythmique, en effet, c'est un vrai désastre ! Personne ne joue les mêmes accords ! Chacun y va de ses petits enrichissements... et vas-y que je te rajoute des accords ! En fait, la réalité, et la plupart du temps, c'est que tout le monde attend son tour pour le solo. C'est tout ce qu'on attend ! Et à ce moment là on AIMERAIT être bien accompagné, et c'est normal ! Mais quand c'est au tour des autres, eh ben alors là, on en a plus rien à f*utre ! Et c'est là le problème ! Il faut AUTANT bien accompagner (quitte à jouer "straight" et "simple") que faire de beaux solos, dans la mesure du possible ! On ne sait pas être simple et beau ! Non. On préfère faire n'importe quoi, jouer trop vite, mal, pas ensemble et sans connaître les morceaux d'origine !

[@DenisChangMusic]

Hehehehe oui c comme ça!

[@DenisChangMusic]

En fait, j’ai souvent l’impression que les “accompagnateurs” (piano, guitare, contrebasse, batterie) n’ont pas envie d’être accompagnateurs, ils veulent tous être solistes en tout temps même pendant le solo d’un autre.

[@MrPETUGUE]

@@DenisChangMusic Mais oui ! Voilà ! C'est tellement ça ! 😆 Alors que si on jouait AU SERVICE de l'autre, si on était dans l'ÉCHANGE mutuel, tout le monde s'y retrouverait 😉 Bon, ça arrive parfois bien sûr ! Mais c'est très rare... trop rare (je trouve)

[@andresantana516]

I want to be authentic at djang bangs. Thanks Denis!

[@DenisChangMusic]

The correct term is Djang Bangs

[@andresantana516]

@@DenisChangMusic corrected

[@JimmyGrantMusic]

The world needs more Djang Bangs. 🎉

[@manuelalves2403]

What is the name of the first standart played ? Thanks for the videos :)

[@DenisChangMusic]

“Crazy Rhythm”! Great tune!

[@user-bdie6ikhd55w73hwg]

Everyone wants to play rhythm like Django and not Joseph

[@jfar3340]

Very nice but Duved has too much padding in the shoulders of his suit; he could look into softer neapolitan tailoring

[@sakana8]

Denis, when you say those Japanese musician playing is no good, did you mean they're playing too complicated, trying to show off rather than playing things that fit the music?

[@DenisChangMusic]

It’s not Japanese players haha it’s every where around the world, but I go to one in Tokyo called Jazz Spot Intro. It is world famous and the most famous jam session in Japan. Most of the drummers don’t know how to accompany, even the pros. They are all actually very talented but they are maybe too technically advanced. They try to do too much, and sometimes they are not even in tempo. They are especially very bad when a singer wants to sing a simple old style song. They think they need to make the song more complicated than necessary. Usually the hosts back up the singer though, so usually the hosts at Jazz Spot Intro are good. I used to go to that jam session with a French friend of mine, and we always tried to guess who would be unlucky and get a bad rhythm section. In general, in Japan the level of technique is very high, and bass playing level is particularly very high actually, but sometimes even if the bass player is good, they don’t always know how to adapt to a bad drummer. If I play with a bad drummer , even if my tempo was perfect, I have to follow the bad drummer so everyone can be together. I think because of how Japan’s music scene works, people are used to playing alone so they get very good at playing alone but don’t know exactly how to play with a bigger ensemble. I noticed a lot of piano players don’t know how to comp when there’s also a guitar comping. At Jazz Spot Intro, I feel 70% of the rhythm section musicians are trying to sound like virtuoso soloists to stand out. But my favorite jam sessions in Japan are in small cities with older pro musicians who are not trying to prove anything. In Tokyo, my bass player friend hold a small jam session , he has good musicians in the rhythm section, so that’s fun too.

[@wrtoomes600]

Straightb4 is: long, short, long, short straight 4. short, long, short, long. (2 - 4) four. And then short, long, short, long; multiple strums on the long: La Pompe.