“Whatever it is you think I am is just my failure to sound like Art Tatum.” Like Bob said, no matter if that is true or not, That is a quote to live by.
@ubongntiah20004 ай бұрын
.Jazz is a musical language rooted in how the greats expressed the melodies and chord changes of tunes that eventually became standards. Many jazz licks and phrases are derived from these standards, so it's essential to transcribe and play the head of each tune. If the head was compelling enough to become a standard, just imagine the solo changes that the masters played over it. Transcribing those brilliant solos can provide you with valuable material to expand your own musical vocabulary. The more you transcribe with an understanding of chord changes and voicings, the more authentic and unique your sound will become. However, if you play transcriptions without grasping the underlying principles, it will be apparent to listeners that you're merely copying. But once you've internalized the changes and voice leading in the transcribed solos, you can start building your own language by incorporating elements from the transcriptions.
@mjmarinara4 ай бұрын
love the bit about Mr. Peterson chasing Mr. Tatum, very inspiring
@OGStazzy4 ай бұрын
What a beautiful view…I started play sax about 3 months ago, transcribed about 7 songs, good ones… written them down to in fact… I sat down and writ 3 of them down today, I just finished…. So proud of myself… jazz standards under my belt, written down and I even was able to learn the chords to two of them. Now I get to relax and watch this! Lol way to make this about me but truly it’s been such a journey of hesitation and resistance as far as just learning what the people say to do and what I want and I finally have somewhat stick my head into the other side. No more guessing about it… I know what Charlie played and how he played… cheers
@taraadcock15034 ай бұрын
Bob Reynolds, great player and great teacher. The keyword to me is both. Copy great lines, your lines will emerge.
@troyp92694 ай бұрын
I am a nobody who came up under a bunch of greats. Several years under Alvin Baptist…, see Branford Marsalis, Wessell Anderson, Randy Jackson and many more whose names wouldn’t check notoriety boxes. Also, a couple years studying with Ellis Marsalis. Victor Goines use to come over to shed. Bob is hitting some key points. I can add to these from the rarified air I have tried to breath. Key words: language & vocabulary Everyone in the circles I mentioned live by the following mindset. Approach the music from the point of a child learning to communicate in the world. We learn words, phrases then sentences and usually say fumbled utterances as little kids until fluency is mastered. Bottom line, if we aren’t fluent in the vernacular, it’s gobbledygook. As an adult, we can formulate cohesive thoughts in a language others comprehend. The beauty of music is it is not bound by verbal utterances by nationality i.e. French, Spanish, English etc. “I hear you”
@EricHempler4 ай бұрын
When you transcribe a tune, solo, or phrase, they gradually start to blend together. You might find yourself playing one tune over another during your own solo, as well as combining various phrases and licks. As you listen, transcribe and play it all starts to blend together becoming your own sound. Your playing becomes a melting pot of everything you’ve absorbed.
@jongoforth14054 ай бұрын
Another great video, Mr. Reynolds. When I was young, it was Mike Brecker that most of us took a shot at peeling a few things. I knew of a couple guys that indentified his lines by number. Quite unfair, I thought, but "Unca Mikey" (as I always refer to him, with all respect) had (has) an instantly identifiable sound and vocabulary. One of the best that ever played, imho...incredible musician. But because he is so iconic, playing his lines, his information, is going to be pretty obvious. The late, great David Sanborn, same thing. A great friend of mine-a sound engineer-once recommended that I practice a transcribed line "until it becomes your own." Never forgot that. So...yes. Both "lived" and "self generated." Grist point about the "all keys" thing. Another friend told me a story about the great alto player, Gene Quill, being snubbed by an audience member saying, "Oh, you just sound like Charlie Parker!", dismissing Quill's remarkable ability, to which Quill quipped, "Well, can YOU sound like Charlie Parker??" Ha! Bob-you undoubtedly know this already, but I've found that sometimes metal Links can be made a bit more even by using a Selmer ligature-but it has to be one that fits correctly, otherwise it'll pinch the sides of the reed and "cup" it on the table. Just my .02. I think rubber Links are more user friendly than the metal ones, but-maybe- there are more colors possible with metal. I don't know. I've played both a lot-I'm old-but I've been on metal pretty much exclusively since '06. Again, my .02. But whaddo I know? Oy, gevahllt. Thanks again for sharing so much thoughtful insight. Safe travels & great gigs to you!
@ja773r4 ай бұрын
Very wise and very honest. Some of the best advice I’ve heard and I’ve been playing a lonnnnnng time.
@michaelstevens84 ай бұрын
Great Video as always Bob. I feel that when a lick or phrase is Transcribed by Ear, then modified in terms of Key, Chord, Rhythm, Phrase Length, and also Position with Guitar or Bass, then you are doing both, Transcribing and Composing your own lines. The idea isn't to sound exactly like someone else, but to absorb their Language, then eventually do your own thing with it. You don't necessarily want someone else's licks comming out in your playing, you want their Concepts comming out in your playing. I'm reminded of the wise words of Trumpet and Flugelhorn player and Educator Clark Terry. First you must Imitate, then you can Emulate, then you can Innovate. Or at least try to Innovate. Thanks.
@michelmalts90534 ай бұрын
Caramba! As we said in Brasil. Perfect your final statement. Thank you. I am in the right path!
@jameseason82064 ай бұрын
Lester Young called out Paul Quinichette for how much he sounded like Prez. Mingus wrote a song about Bird being a gunslinger and dead imitators. Studying solos (as Bird did with Pres) was something that youngsters did as they were learning. It wasn’t something the pros did. At Berklee in the ‘80s-‘90s, at the height of the Marsalis-driven neoclassicism, you earned your bona fides by how well you could emulate a known quantity. (I went down that road via Joe Henderson and Sonny Rollins -with a smattering of George Coleman and Dexter Gordon). In retrospect, I value that time for how it illuminated the way those artists navigated harmony and rhythm. I long ago stopped trying to directly imitate them but instead sought insight via their methodology to discern what was at the root of what I liked about it. It seems as though things have changed a bit for the 20-something’s coming up now but there is a middle generation that plays the hell out of their instruments but doesn’t seem to have a lot to say. Admittedly, I might just be a curmudgeonly old cat in my virtual rocking chair griping about how things used to be better.
@lincland38674 ай бұрын
In a fairly recent interview, Branford talked about how when he was young, he really didn't have a lot of ambition to practice like Wynton did, he just liked to play gigs. And he didn't aspire to be a great jazz player who played for other musicians. But after playing with Blakey, and doing several albums, he decided he needed to get his shit together. There was one album in '88, Random Abstract, (I think that's the one) where he played a few different tunes with an effort to play in the style of those masters: one by Wayne, one by Coltrane, one by Ben Webster, etc. It was interesting to see that he had shedded that stuff with some considerable effort, and got it down really well. But he always sounded like himself, before that process and after. To my ears, that period enable him to really find himself, and move into that period where he became very serious about playing. I have heard players that took it too far, like Makoto Ozone when he went through his Oscar Peterson phase. Everyone would just roll their eyes. But the next year, he had spent the summer shedding Chick Corea, and sounded like a mix of the two. Then he really blossomed. I don't think you get sucked into sounding like someone forever. I think it's easy to stop and change directions once you've absorbed all you need.
@IOSALive4 ай бұрын
Bob Reynolds, awesome content bro
@pondfred4 ай бұрын
Great advice! Thanks, Bob! Also, where the heck is that lagoon in the background? It looks amazing and I definitely want to go there!
@blade54744 ай бұрын
"Both. Both is good" Tulio and Miguel from The Road To El Dorado. 😁👍
@KevinDJazzApostle4 ай бұрын
All is inevitable and needed ❤
@bobreynolds4 ай бұрын
yup
@pagodacircle19074 ай бұрын
What do you think are some things we should/should not be putting in all 12 keys? I’ve been doing 12 keys for most patterns/structures/pulled licks (not full solo transcriptions only the parts I like, after I have transcribed). Wondering if there are other things I should be doing instead. Found your channel earlier this year you do some amazing stuff man thanks!
@blindcanseemusic4 ай бұрын
how many years or how many saxophones does it take to play intonated?
@leobetcher73424 ай бұрын
what are the things that are musts when it comes to putting things in 12 keys? I struggle with this and want to know your way of doing this practice.
@rafagxjunglezz4 ай бұрын
i totally agree
@tyronebirkett11614 ай бұрын
Both. But listen as much as you transcribe. That's how the greats did it.
@TysonGraf4 ай бұрын
David Binney, John Stowell, Mick Goodrick (studied with him), Stefon Harris, and many other jazz greats never transcribed.
@MrThinkingahead4 ай бұрын
Exactly. Binney is one of Pat Metheny's favorites.
@craiglacour88874 ай бұрын
how do you know they did not transcribe
@TysonGraf4 ай бұрын
@@craiglacour8887Mick told me, and the others have said they didn't in interviews. I've heard David and John say multiple times that they never transcribed. Which helped them be original.
@TysonGraf4 ай бұрын
@@craiglacour8887 There's a lot of dogma in jazz education. And people like David Binney help to break out of that.