![]() Episode 600 - Steely Dan: Any Major Dude Will Tell.Shot In The Dark: Playing With Lightning.The Natural Acoustic Band: Is it True Blue?.Remember this and you will have no difficulty in remembering the structure of extended chords. If it’s a Db 11, then I play a B over the Db. If a song calls for F# 13, I know that I need to play an E 7 over the F#. Unfortunately, I never read this anywhere, but figured it out on my own and it makes it easy to remember. For example:Ĭ 13 is C E G Bb D F A | a Dm chord over C7 chordĬ 11 is C E G Bb D F | D & F notes over C7 chord It also can be remembered by playing a minor one step above the 7th of the chord. For example:Ĭ 13 is C E G Bb D F A | a Bb7 chord over C chordĬ 11 is C E G Bb D F | a Bb chord over C chordĬ 9 is C E G Bb D | Bb and D notes over C chord A thirteenth is somewhat of a combination of a 7th and 6th chord as the Bb is the 7th and the A is the 6th. In other words for a 13th chord in C – a complete Bb7 is played above the C. For the 11th, 9th, and 7th chords, a note is dropped. I love these chordal structures and if you play keyboard these extended chords are easy to remember as they feature at the 11th and 13th extensions an entire chord a complete step below the primary chord. It often features chord variations of sevenths, ninths, elevenths, and thirteenths. And thus it is possible to understand why the beauty of the album will always remain eternal.Bossa nova literally means “new trend” in Portuguese and the style developed from samba, but is less percussive than its antecedent stytle. It is impossible to find a wrong note or an ill-advised motif anywhere on this album. This can be heard in “Samba Triste” and elsewhere. Finally there is music that captures the elemental longing of Brasilian longing. “O Pato,” “E Luxo Só” and “Bahia” are dreamlike and exemplify this. Getz loses himself in splendid labyrinthine melodies. Then there are the enchanted charts where Mr. And the music is played with impish wit, with the musicians even playfully naming a song such as “Samba Dees Days.” But the puckishness is never separated from the sublime and venerable nature of the melodies. The gentle reminder that most of the rest of the other charts are devolutions of folk music comes almost immediately after “Desafinado”. The ebullient explosion of the tenor after a bass and drum interlude forces the chart into overdrive before returning to its lulling rhythm. Listen to the opening bars of “Desafinado” and to its mid-section after Stan Getz is retreating from his solo and be amazed at the grace and passionate embrace of guitar and tenor saxophone. Getz’s tender saxophone, he holds back and retreats into a hypnotic rhythm that bobs and weaves in harmony with the rocketing melody. And just when it seems that he and his guitar would overcome Mr. Getz’s motives, following the chordal inversions as a leonine hunter would track its prey. His attack is gentle almost stealthily so. His chords are slanted, gliding off the strings with deft fingering and making elliptical shapes around the notes that Mr. Although he plays a completely different instrument-whose persuasions are marked by dramatically different timbres-he somehow manages to become a doppelgänger of the tenor saxophonist. Charlie Byrd is also a big part of the magnificence of this album. It is therefore de rigueur to hang on to every note, every glorious phrase and the lilt of each and every magnificent line played by Stan Getz. Jazz Samba is tantalisingly short almost painfully so. On this and a handful of other albums he never disappointed. This was a rare privilege accorded only to Brasilians and to Mr. Getz joined Joao Gilberto, Vinicius de Moraes and Antonio Carlos Jobim and a clutch of legendary musicians from Brasil in becoming instrumental in spreading the Bossa Nova gospel. So it ought never to be a surprise that Mr. It seemed that the saxophonist had a magical feel for the rhythms of Samba and Bossa Nova the tantalizing backbeat that captivated continents and mesmerized a generation of musicians and dancers. Getz’s seemed to have been born with the God-given grace to negotiate complex and beguiling rhythms. Then it was his ability to hang the notes he played in curved air so they would resonate, linger and captivate the soul. First of all the tenor saxophonist seemingly developed his haunting, ethereal tone just so he could negotiate this music. Stan Getz is on it, leading a small ensemble on what is easily one of the finest recordings in this ineffable Brasilian idiom. There is a very good reason for the extraordinary longevity of this album years after Samba and Bossa Nova was invented by Brasilians. ![]() The year 2014 marks fifty-two years after the classic album Jazz Samba, was recorded.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |