For the past 4 years I have put out an album to document my musical adventures. Remembering to Forget is this years album. There’s a range of styles, however, all are heavily influenced by my study of jazz guitar with Matt Warnock. It’s his teachings, approach and creativity that I have put into practice here. I hope you like it.
Here’s some background for each track….. Time to Think… From an original idea by PatrickM. Because sometimes we need time to think, to reflect.
Argo Phosphine… From time to time I get an invite from a local record label to submit a track for a compilation album. The brief – Call for the « PHONOGRAPHIES » project
For the “Phonographies” project, each artist is invited to compose a sound or musical piece containing field recordings. The composition should contain recordings through samples or it may be a raw « one-shot » piece.
I insist on the fact that your composition must absolutely contain sounds recorded around you or in your sound banks: that is the point. This is what will make the link throughout the project.
There were storms at the time, and during the day there was acrid smoke from the forest fires 300kms away, and what seemed like the endless noise of jet engines. I wanted something relentless and disonant. I recorded the sound of the storms, also the sound of the frogs. I used pickscrapes for the sound of the jets. White noise from a flanger and various guitar sounds with the guitar is drenched in reverb and delay. Percussion from loops of unequal lengths and some ‘one shot’ sounds from an old recording. Argo Phosphine is an anagram of Phonographies.
Beseechingly Yours… My tip of the hat to one of my favourite guitar players Derwin “Big D” Perkins.
Pocket Queen… Taylor Gordon a.k.a Pocket Queen on Instagram. Every so often she posts a drum loop and invites musicians to do something with it. This is my attempt at one of those.
Infant Eyes – Wayne Shorter… A cover of Infant Eyes with Lyda Van Tol. This was my Jazz study group’s tune of the month for July (https://www.mwgcourses.com/). Lyda didn’t know the tune, she sight read it from the lead sheet. What a fab voice, and what skills!
Juillet… Simply a tribute to July making use of some tasty chord moves I’d learned in the jazz study group.
Remembering to Forget… The title track. It’s a thing to do at the end of a serious practice session on guitar. Just forget everything and play…..but you have to remember to do that.
Andalusian Cadence… Exactly that. Let the cadence do the work and play the least I can while making sure to hit the ‘meaningful’ notes.
La Belle Riviere Gorre… Another one for the local record label to submit a track for a compilation album. The brief – Call for “CARTES POSTALES” project
(Based on the idea of Argentinean artist Carlos Devizia) Each artist will have to choose one of the most beautiful natural places in the world for them. They will compose a sound (or music) piece inspired by that place. We at Camembert Électrique believe that there are so many beautiful places in our world, that they deserve to be honoured musically.
I chose one of my very favourite places. The River Gorre near Saint Auvent. Just a stones throw from where I live. I walk there often and I find it to be a magical place. I make a point of stopping to just watch the river flow for a few minutes.
The ‘Tune of the Month’ in Matt Warnock’s Jazz study group is So Danco Samba. Matt has given us authentic Bossa and Samba patterns to learn, but I wanted to try and take my comping to the next level and make it sound even more authentic. I listened to the Jobim version, also the Getz/Gilberto version along with a whole playlist of others. Then I decided to try and find a Brazilian who could teach me. After a few minutes on google I found Diego Figueiredo and his ‘Brazilian Jazz Guitarra‘ course on Truefire.com. I watched a free video where he taked about the Bossa Nova Jazz connection. In the free vid’ he demonstrated what he was talking about by playing So Danco Samba – result! He gave some great tips and ideas. I was so impressed I wanted to find out what else he had to say.
Diego Figueiredo is one of the greatest guitarists I’ve seen in my whole life. The world needs to listen to his music.” – George Benson
From Truefire….. Diego is also a passionate educator, and we’re very excited to welcome him to the family with his first TrueFire course, Brazilian Jazz Guitarra!
”I love the ‘magica’ — the magic of bossa nova and the freedom of jazz. Combining these two influences produces a colorful, vibrant style that I call Brazilian Jazz Guitarra. In this course, I’ll share 12 key concepts and techniques that power this exciting style. We’ll apply all 12 of those approaches across seven performance studies in different feels and tempos.”
Diego organized the course in two sections. In the first section, Diego shares 12 key concepts and techniques that are signature to his style: Bossa Nova Swing & Variations, Traditional Brazilian Music Styles, Right Hand Fingers & Approach, Right Hand Patterns & Variations, Right Hand Arpeggio Exercises, Up & Down Thumb Technique, Chord Substitution Ideas, How to Play With a Singer, The Bossa Nova & Jazz Connection, Explore the Scales Inside Chords, Inside vs. Outside Melodies, and The Importance of Repertoire.
Needless to say, I bought a copy of the course and am enjoying it very much. I have a few days left until I submit my final project for the month. I hope to share that with you.
The weather has been grim. It’s been raining for days. More guitar time then! On the Strat-Talk forum where we discuss all things stratocaster there is a weekly challenge that I sometimes join in with. This week’s challenge was to record oneself playing over a backing track for Wayne Shorter’s Footprints. I liked the sound of of it, and decided to gve it a go. I spent a happy morning teaching myself the melody by ear then recording this…..
Here’s what we have…. Drums intro, 4 bars keyboard turnaround, 2* Melody, 4 choruses improvisation, 2* Melody, 2*tag, outro. I recorded using a 1967 ‘Chet Atkins’ Gretsch Country Gentleman – also know as the George Harrison guitar, through a DV Mark Little Jazz amplifier into Ableton Live. The backing track was posted by Monte over on strat-talk. Here’s the challenge thread in case you fancy having a go, or checking out what other players made of it.
A great morning on the guitar learning about a tune that I was not familiar with. What you been up too?
“Footprints” is a jazz standard composed by saxophonist Wayne Shorter and first recorded for his album Adam’s Apple in 1966. The first commercial release of the song was a different recording on the Miles Davis album Miles Smiles recorded later in 1966, but released earlier. It has become a jazz standard.
There is a Dutch village not far from me here in France. It’s a residential/holiday village. A Dutch opera singer, Lyda Van Tol, retired there recently, and my friend Gijs has been very keen to introduce us. I met Lyda briefly last week and invited her to come and take a guest slot at our booking in the restaurant there (I have no problems jumping in at the deep end!). She accepted, came along, and met Rod (keyboard) during the break. Lyda told us she would like to sing the introduction a cappella then we would join in. I would take a short solo over the A section then Lyda would come back in. This was great fun, and it was a real pleasure to back her. Our audience don’t normally listen this hard. You could hear a pin drop. Lyda went on to do two more songs. I loved it.
Dédiée aux cigales Cicadas Brood X. Tous les 17 ans, les nymphes de la cigale de Brood X creusent un tunnel vers le haut en masse pour émerger de la surface du sol. Les insectes perdent ensuite leurs exosquelettes sur les arbres et autres surfaces, devenant ainsi des adultes. Les cigales matures volent, s’accouplent, pondent des œufs dans des brindilles, puis meurent en quelques semaines. La combinaison de la longue vie souterraine des insectes, de leur émergence quasi simultanée du sol en grand nombre et de leur courte période d’âge adulte permet à la couvée de survivre même à une prédation massive.
I’m working hard on my Jazz playing. Here is a cover of Alone Together, a jazz standard written by Arthur Schwartz with lyrics by Howard Dietz. It was introduced in the BroadwaymusicalFlying Colors in 1932 by Jean Sargent. The song soon became a hit, with Leo Reisman and His Orchestra’s 1932 recording (vocal by Frank Luther) being the first to reach the charts. It has become a jazz standard. The first jazz musician to record the song was Artie Shaw in 1939. Though I reckon the version most people know best is the Chet Baker version from 1959.
Alone Together was the August ‘tune of the month’ in the PJG (Play Jazz Group) study group on facebook. This was my submission for the end of the month ‘final project’. Posting a final project gets you feedback from Matt, and from your peers. Another great month of learning! I have thoroughly enjoyed working on this tune. It was one that I didn’t know, and now I love it. I‘ve learnt so much this month about navigating tricky changes. I’ve had such fun with comping. My goal for the past couple of months has been to be more succint, to start and end phrases properley, also to create tension where appropriate. I think I’m getting there, still a way to go though. I played the bass part using Matt’s walking bass line from the weekly excercises. For the comping, I used diatonic moves, some approach chords, and substitutions….and a little ’arrangement’ walking the Fmaj7 down to the Dmaj7 in half steps (bar 11 onwards). I normally play the melody straight for FPs, but this time I decided to add flowers. Soloing wise, bars 9 to 13 became my favourites. Find it Matt Warnock’s Play Jazz Guitar Facebook group here… https://www.facebook.com/groups/playjazzguitar/
Nobody has asked me how I’m getting on with my Jazz studies! So…..
Sidestepping excercise over the B scetion of ‘Alone Together’ using G, G#, and Am pentatonic. The G# pentatonic is used over the C7 chord making for a very tense sound that releases when you use Am pentatonic over Fmaj7. This excercise is from Jazz tutor Matthew Warnock. You can find it and other excercises relating to this month’s tune of the month Alone Together in his Play Jazz Guitar Facebook group here… https://www.facebook.com/groups/playj… I started studying Jazz guitar with Matt a while ago. He has a way of explaining things that make it easy to understand. I’ve learnt more in the past few months than I have in the past few years! Plus, I’m really enjoying playing, and have never been more in love with the guitar. If you are thinking of getting into jazz guitar, the group is free to join, there is excellent camaraderie amongst the members. It’s a lot of fun. Here is Matt’s website – https://www.mwgcourses.com I’m using a Fender Telecaster straight into a Focusrite Scarlett 6i6. Ableton Live is my DAW. Video from my Ipad.
Bennetti’s Jazz Blues All Stars featuring Nathalie Pnt. You’re gonna love this.
Oh la la ! Comment j’adore !!!!! Ça m’a envoyé direct en arrière, à une époque que je n’ai pas connu certes, mais j’me voyais assise dans une salle enfumée d’un club de jazz , à écouter une petite brune chanter ses peines de coeur ! J’en veux encore !!! Tu assures ! Bravo….
Oh mais franchement, comment ne pas aimer, ta voix est juste parfaite pour ce titre ! Moi ça m’a emporté direct : c’est beau, ça paraît simple ( et c’est en ça que c’est fort parce qu’on sait bien que c’est tout sauf simple), cette douce mélancolie dans ta voix…..c’est divin ! J’ai écouté 2 fois de suite et je vais la faire écouter autour de moi si tu veux bien…..
Je viens d’écouter j’adore tellement ? ça me fait penser au chanteuse qui chantais dans les piano bar dans les années 50-60″ Et tu sais à quel point j’aime ses années…
J’adore, aaah du Jazz !
Magnifique timbre de voix, en fait, tu sais tout faire!…
j’adore ?ambiance de ouf. Ouhla pas facile, mais là c’est réussi quoi, tu fermes les yeux tu vois la scène, les rideaux rouges, la fumée, haha c’est énorme…