Don Byas, Tenor Sax, "Lover Man".
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- čas přidán 26. 08. 2024
- Don Byas,tenor sax., Claude Bolling, piano. C. 1954.
"Lover Man" by Jimmy Davis, Roger ("Ram") Ramirez, and James Sherman.
This clip was uploaded in accordance with the fair use clause for educational purposes only
Don Byas is by far my favorite of the earlier generation of saxophone giants. He was very much overlooked as an innovator but Sonny Stitt talks about him like a God and Charlie Parker said that when he got to New York, that Don was playing all the saxophone there was to play! He was a harmonic genius and could play intervalic ideas up and down and every which way as well as play great long melodic lines. His tone is heavenly, and what a gigantic sound coming from a short skinny cat!! Amazing ..... he was a genius!
Qthanks for posting this great music
Amazing, haven't heard these changes before. I bet, Byas consulted the band.
Anyone have any idea who the guitarist is? I can’t find any info about this footage online
Is Claude Bolling on piano in this clip?
Do you know what key is this song's been played on? I mean, the tone? I play tenor saxophone and I'm studying music theory now, so my guess is either D minor or G dorian, the second degree of F major, which also fits the minor mode, right. In concert pitch, that would be C minor and F dorian, the second degree of E flat major, right?
In case you know a good and easy method to discover the key by listening, I'd appreciate it very much! Thanks a lot, people!
Jon Stanger Jazz Thank you so much for the invaluable information! I will definitely need some time to analyze everything you explained, but now that I understand a little bit of harmony, your explanation about the basic G(A) minor key and the chromaticism totally makes sense to me!
Also, now that I started to listen to the bass when trying to pick up the key of a song, it helps me to avoid making mistakes and wrongly guess that the fifth tone of the fundamental triad is the key. I think that that's a very common mistake. But now I've learned a trick to check if it's really the key tone: I put the note that I guess is the key on the bottom of a minor chord and test against these notes. If it still sounds better, that's the song's key note, or root note. If not, either the third or the root of this minor chord will be.
The "only" problem is that there are usually a lot of modulation and chromaticism in Jazz, right? It's like we're taking a stroll on some street of the neighborhood and then turn left or right on another, just to come back again, eheheh.
Forgive me if I'm waisting your time with information that you probably already know, it's just that I am a total beginner and, here where I live, in Brazil, music theory classes are so expensive and I can't afford paying for them right now, so I'm studying on my own, which makes things more challenging.
Again, thank you so much for your help! It's very nice to find out people like you, who take some of their time to teach total strangers. You're one of the good ones, my friend!
Cheers from Brazil!
+cafiristanemperor write me at www.lenabloch.com, I will explain. no charge.
Sears & Roebuck changes', and b6 Neapolitan 6th effect LMBAO They are doing something like this: | Dm G7 | Ebm7 Ab7 | Gm7 C7| Abm7 Db7| it's the same as Epistrophy by Monk.