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I haven't been following this thread, but "rhythm changes" used to mean
the changes to "I Got Rhythm", and, always in key of concert B flat. "Rhythm
changes" has nothing to do w/ the blues, imo.

Cheers,
JV


Juan,
I beg to differ: in bar 7, 8, 9, 10 of the Blues a common substitution is
"rhythm changes" in Bb (F7 - D7 - Gm7 - C7) ... it may not be rhythm changes in
whole but it captures the very essence of I7 - VI7 - ii7 - V7.



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[Non-text portions of this message have been removed]

Check it out. Dave Woods



Dave ...

Very very cool! .......... one can never get enough of Rhythm Changes and all
their "relatives" ....
... let's see, how many popular and other songs were written using I - Vi - ii -
V and variations thereof?
.... O Man, I stopped counting at 100 ....



[Non-text portions of this message have been removed]

No, this isn't about jazz. But we musicians are a family.





Aboriginal music legend Errol Ranville is the lone survivor of a head-on
collision near The Pas that killed five people, including his wife.

Ranville's brother, Stirling, said Errol has been flown to Winnipeg's Health
Sciences Centre where his condition is being assessed.



"All the paramedics could say is his injuries are intense," Stirling said.
"I'm in intense shock."

Stirling said Errol's wife, Marcie, was "killed instantly" in the collision.



Errol Ranville, who headed the band C-Weed, was headed to The Pas to play a
show at the casino there tonight and Saturday night.

In recent years, Ranville has become known as a promoter and booster of
aboriginal music, working to develop the Aboriginal Music Program and
serving as executive producer for both Manito Ahbee and the Aboriginal
Peoples Choice Music Awards. He was inducted into the Aboriginal Hall of
Fame in 2005





I wish Errol and his family the best, John



PS. I wonder how may musicians die going to or from a gig? It seems like way
too many.



Reciprocity

He's got lots of stuff to offer and it's affordable. He's a great
teacher and his approach is very straight forward.

True, and the clincher for me is if I call Rich or Gail picks up the
phone and says hello! That's a nice change for dealing with most
internet businesses. Same with email. Prompt and helpful. Good
product. Word of mouth should propel a business to success not bullshit.

Ron


Living and playing outside the box.



On Oct 9, 2010, at 8:20 AM, Brian Kelly wrote:

Ron,

You did good recommending Rich's site.

Brian Kelly

From: Ron Becker
Sent: Wednesday, October 06, 2010 3:43 PM
To: Jazz Guitar
Subject: [jazz_guitar] An honest plug

Bought a few `classes from Rich Severson's 99centguitarlessons.com.
Yes it's a way of introducing you to his guitar college and the
classes there. But what I got for 9 bux and change was a group of
videos and trax DL'd to my desk top. But more importantly it you call
or email Rich or Gail his wife will answer quickly and they are very
helpful. I messed up one of my DL's to my desktop and got great help.
You can see some of his stuff on utube. There are some short free
chord licks there that are nice and the theory is in the verbiage of
the vid as well as what he is playing. VIds and sound are good
quality. Chords are spelled out. My hearing is bad enough that it's
not that much help. If you've been playing a little while it's clear
what he is doing. The stuff I've seen is kind of intermediate I'd
guess.

For anyone who is not a strong reader it's a great way to get going
on some chord melody that is not overly simplistic and sounds pretty
good. Some of the classes come with pdfs as well. I don't have to
give anyone access to my bank account and you won't need a cosigner
on a loan to buy his classes.

I don't get a free set of Steve Vai picks or anything. I just like
what I'm getting from them. Anyone else tried his stuff? How did it
strike you?

Ron

Living and playing outside the box.

Hi Jon.

Funny, I feel exactly the same about chic Corea's trio that I saw
on Tuesday ... McBride delivered some stunning bass solos, the
interplay between all three guys was great, and I'm pretty sure
Brian Blade is my favorite drummer now. He didn't hit hard often,
but when he does, it's like a gunshot... I mean that in a good way
somehow. It's hard to describe the effect.


Chris,
I saw Chick and same trio 2 weeks ago ... I AGREE - MONSTERS - ALL!


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[Non-text portions of this message have been removed]

Ron,

You did good recommending Rich's site. He's got lots of stuff to offer and it's affordable. He's a great teacher and his approach is very straight forward.








Brian Kelly


From: Ron Becker
Sent: Wednesday, October 06, 2010 3:43 PM
To: Jazz Guitar
Subject: [jazz_guitar] An honest plug



Bought a few `classes from Rich Severson's 99centguitarlessons.com.
Yes it's a way of introducing you to his guitar college and the
classes there. But what I got for 9 bux and change was a group of
videos and trax DL'd to my desk top. But more importantly it you call
or email Rich or Gail his wife will answer quickly and they are very
helpful. I messed up one of my DL's to my desktop and got great help.
You can see some of his stuff on utube. There are some short free
chord licks there that are nice and the theory is in the verbiage of
the vid as well as what he is playing. VIds and sound are good
quality. Chords are spelled out. My hearing is bad enough that it's
not that much help. If you've been playing a little while it's clear
what he is doing. The stuff I've seen is kind of intermediate I'd guess.

For anyone who is not a strong reader it's a great way to get going
on some chord melody that is not overly simplistic and sounds pretty
good. Some of the classes come with pdfs as well. I don't have to
give anyone access to my bank account and you won't need a cosigner
on a loan to buy his classes.

I don't get a free set of Steve Vai picks or anything. I just like
what I'm getting from them. Anyone else tried his stuff? How did it
strike you?

Ron

Living and playing outside the box.

I am with you on promoting Louis Stewart in America. I tried to set up an interview of him for Just Jazz Guitar with his last record label but it never happened but somebody should do it. Louis is an amazing guitarist. An absolute favorite of mine.

I can't tell what is going on from this email but Ralph Patt passed away a couple of years ago. He was one of the most interesting guitarist and people in general that I ever met.





Brian
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Hi John,

Jazz players use all sorts of substitutions, that's a huge part of the
music, as you well know. However, if someone calls "rhythm changes", and I
start playing the blues, ain't gonna work; likewise, if someone calls "blues",
and I start playing rhythm changes, ain't the same thing. That's what I
was getting at. Many songs, regardless of genre, share characteristics,
but that doesn't necessarily make them "the same thing", just my opinion.
Tacos and hamburgers both may contain tomatoes, but if I ask for a burger &
the counter person gives me a taco, I'm going to ask what's going on...

Cheers,
JV

Juan Vega


In a message dated 10/9/2010 10:05:59 A.M. Pacific Daylight Time,
jamato316@... writes:

Alisdair Wrote

Google/Youtube and the technologists have already figured out how to make
money from the new technology. They are making a killing. Youtube financial
estimates of $1.5B/Year. And they are loving all
the "free" content, much provided by musicians, that is helping fill their
coffers.

The issue lies with musicians they haven't figured it out.

While exposure is useful, the issue is the next step and the artist
getting paid. Getting known is one thing, getting paid another.
Unfortunately being known does not necessarily translate into getting paid.

I agree the internet is not going away and we need to find solutions.
What I find interesting is that in seminars like "Future of Music" there is
growing trend of musicians who having initially embraced the
internet and Youtube etc., they have found it has not had the
desired results they hoped or expected. Musicians are searching for
solutions and in the dialogues there are many ideas.... I think it is
important for musicians to stay abreast of these new directions, but like
the old record companies, be wary there are still many sharks trying to make
money of the backs of musicians.

The only solution I can see is for musicians to band together and create
their own version of UTube for themselves. This could starve out the
present UTube as far as meaningful new music is concerned. The old
musicians union in the past before the internet came together for this
purpose. The new musicians union will have to tame cyberspace.

Dave

Thank God for you on this list!!



Dave Woods



It is a complex issue.
Yes, It Is.
I know this heretical, but what if you don't think of it as commerce?
What if you think of it as an audible way of reaching out to OTHERS. I have
made lots of fine contacts that I would not otherwise have made had I not
made some of my music available on the internet. I think if you concentrate
solely on the money, you lose sight of what made us want to play in the
first place. I for one, refuse to play into any doomsday scenario. It is
always the end of the world for somebody and the dawning of a new day for
someone else.
Always in never,
Jim Mings

--- In jazz_guitar@... <mailto:jazz_guitar%40yahoogroups.com> ,
"Paul Sametz" <ammo@...> wrote:

Holy Crow. Never did I suspect till now that the term "Rhythm'n'Blues"

referred to I Got Rhythm and well, Blues changes.

As if any musical genre could rely on two basic song formats alone!

Absurd!

BO)
Ammo

Dave Woods,

Many many different Bop heads were written on I got rhythm changes and blues
changes. Since the whole concept of small group interaction was being
changed rhythmically and melodically, don't sweat the chord changes. Get
the rhythmic and melodic aspect together first, then branch out into forms
with more advanced harmony.

What was also gradually taking place, was taking tunes they already knew and
writing new bop heads over those changes in the new rhythmic style. Bear in
mind that rhythmic style exerts a great influence on melodic style.
However, in my opinion, Parker was also a past master of playing an original
melody for a standard, and making it come alive like nobody else. Louie
Armstrong was also a master of this.

All I can say to Ammo is, why nitpick about history? You've got Rhythm
practice tracks at progressively faster tempos. Jump in the Woodshed and
develop your playing.

Dave Woods

Bobby, How You?
Cool!
Just went to The Jazz Standard site and heard a few tunes. Russell Malone, my man. Many, many entire recordings available...to listen to.
Man, it seem like the cat out of the bag on this here musical internet intercourse. What to do, what to do. Earlier tonight I started thinking how much I learned from Jerry Hahn in the old days. (His Guitar Player column was required reading for me every month even if I felt like I didn't have to follow all those "rules." Remember? I still have decades worth of Guitar Player magazines for anyone who might fancy them.not every issue, but a lot.) The Jerry Hahn Brotherhood was an important band. I have the record somewhere. They did music in the early 70's that set the precedent for "jam bands" for decades to come. Jerry plays "in the tradition," mostly, I gather, today. He still sounds fine to me: Long lines smartly strung together. There are lots of songs and videos available on youtube by Jerry Hahn.
I enjoy very much that these things exist.
Jim

Speaking of great concerts, there are still lots of John mcLaughlin and the 4th Dimension tickets available for his Toronto show - I just got mine.

Koerner Hall, Toronto Ontario Canada, Nov. 11, 8:00 PM.

Chris

On Sat, Oct 9, 2010 at 1:22 AM, akmbirch <akmbirch@...> wrote:

--- In jazz_guitar@..., Angelo <angelo.nyc@...> wrote:

On Fri, Oct 8, 2010 at 5:00 PM, Bob Hansmann <bobbybmusic@...>wrote:

Hi Angelo,

I think these are the worst words of advice I've heard by a

"pundit"...

I disagree with you. I think that what he is saying is that if you want
to become one of the many amateurs out there whose creative output is
worth zero dollars and no career, the way to do it is by posting your
work on the Internet.

If you think playing gigs in toilets in Brooklyn will get you more
attention than a video on Youtube that goes viral, play away. Yes, you're
competing with many other people,but you are also reaching more people

than

by not getting your stuff out there. The internet is not a fad. They

thought

that about radio, movies, the "talkies" and TV. Many people scoffed at

all

these new-fangled inventions, while the smart people figured out ways to
make money from them...

It is a complex issue.

Google/Youtube and the technologists have already figured out how to make
money from the new technology. They are making a killing. Youtube financial
estimates of $1.5B/Year. And they are loving all
the "free" content, much provided by musicians, that is helping fill their
coffers.

Much of the content that gets the most hits are not jazz performances, but
lip syncing to Beyonce and other silly stuff...

The issue lies with musicians they haven't figured it out.

While exposure is useful, the issue is the next step and the artist
getting paid. Getting known is one thing, getting paid another.
Unfortunately being known does not necessarily translate into getting paid.

Getting known IS the way to getting paid, especially in this time of
celebrity worship. This is no longer the world where "talent will out". One
cannot separate "celebrity" from financial success... If that musician wants
to get paid he damn well better get famous. Nobody cares about how well a
musician plays. They care about how simply he gets a melody across and how
he looks... The schmaltzier, the better. We have only to look at Kenny
G....How come he's making so much money? It's the hair!... :-)

I agree the internet is not going away and we need to find solutions.
What I find interesting is that in seminars like "Future of Music" there is
growing trend of musicians who having initially embraced the
internet and Youtube etc., they have found it has not had the
desired results they hoped or expected. Musicians are searching for
solutions and in the dialogues there are many ideas.... I think it is
important for musicians to stay abreast of these new directions, but like
the old record companies, be wary there are still many sharks trying to make
money of the backs of musicians.

and now, R&B seems to mean severely autotuned vocals, over minimal background, with odd synthesized effects and other strangeness, presumably to catch the ear quickly?

I grew up after what my parents call rhythm and blues, but I don't get the new stuff, or how the new stuff relates to that term.

Hi Jon.

Funny, I feel exactly the same about chic Corea's trio that I saw on Tuesday ... McBride delivered some stunning bass solos, the interplay between all three guys was great, and I'm pretty sure Brian Blade is my favorite drummer now. He didn't hit hard often, but when he does, it's like a gunshot... I mean that in a good way somehow. It's hard to describe the effect.

Ian Froman can do it too - accent something and it just carries right to the back of the room.

Chris

It is a complex issue.
Yes, It Is.
I know this heretical, but what if you don't think of it as commerce?
What if you think of it as an audible way of reaching out to OTHERS. I have made lots of fine contacts that I would not otherwise have made had I not made some of my music available on the internet. I think if you concentrate solely on the money, you lose sight of what made us want to play in the first place. I for one, refuse to play into any doomsday scenario. It is always the end of the world for somebody and the dawning of a new day for someone else.
Always in never,
Jim Mings

I've got nothing to add to the topic. But I've been humming Don't Let Your
Babies Grow Up to be Cowboys all day.

Rod

[Non-text portions of this message have been removed]

--- In jazz_guitar@..., Angelo <angelo.nyc@...> wrote:

On Fri, Oct 8, 2010 at 5:00 PM, Bob Hansmann <bobbybmusic@...>wrote:

Hi Angelo,

I think these are the worst words of advice I've heard by a "pundit"...

I disagree with you. I think that what he is saying is that if you want
to become one of the many amateurs out there whose creative output is
worth zero dollars and no career, the way to do it is by posting your
work on the Internet.

If you think playing gigs in toilets in Brooklyn will get you more
attention than a video on Youtube that goes viral, play away. Yes, you're
competing with many other people,but you are also reaching more people than
by not getting your stuff out there. The internet is not a fad. They thought
that about radio, movies, the "talkies" and TV. Many people scoffed at all
these new-fangled inventions, while the smart people figured out ways to
make money from them...

It is a complex issue.

Google/Youtube and the technologists have already figured out how to make money from the new technology. They are making a killing. Youtube financial estimates of $1.5B/Year. And they are loving all
the "free" content, much provided by musicians, that is helping fill their coffers.

The issue lies with musicians they haven't figured it out.

While exposure is useful, the issue is the next step and the artist
getting paid. Getting known is one thing, getting paid another. Unfortunately being known does not necessarily translate into getting paid.

I agree the internet is not going away and we need to find solutions.
What I find interesting is that in seminars like "Future of Music" there is growing trend of musicians who having initially embraced the
internet and Youtube etc., they have found it has not had the
desired results they hoped or expected. Musicians are searching for
solutions and in the dialogues there are many ideas.... I think it is important for musicians to stay abreast of these new directions, but like the old record companies, be wary there are still many sharks trying to make money of the backs of musicians.

--- In jazz_guitar@..., "rguitarjj" <rpjazzguitar@...> wrote:

The term was coined by Jerry Wexler in 1948.

He may have based it on an RCA line called Blues and Rhythm.

It replaced the term "race" music.

I could not find any indication of whether he was thinking about I Got Rhythm and Blues changes, or just rhythmic styles of music and blues styles.

Yes, Jerry Wexley claims that, but the term was in use before he coined it!

The term was initially used to refer to bands that played tunes based on (I got) Rhythm and Blues changes. It was a dispariging term used by jazz musicians to refer to music that was played in small combos in bars etc. the music was thought of as crowd-pleaser music, often riff based, that would be popular, people could dance to it/get drunk to it etc., The music was simple enough for a group of any background jazz musicians, including those just starting out, to get together in an improptu group and combination and play and get paid.

Later the term was expanded to refer to mean any music produced by
African American musicians etc...

--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger