Hi Andy thanks again for the video. I'm back on this and think I know why I made that comment below. It's to do with the fingering of the E flat 6/9. With that fingering, the move from F to F sharp in the next chord is very, very prominent. That because at the same time as we move to chord 2 it creates a parallel 4th moving up a semitone (C to C sharp). Parallel 4th is just a parallel 5th doing a handstand. All I do different is to use Mickey Baker fingering for E flat 6th (without 9th) in bar 1: only difference is to play on B string G using pinkie rather than F. That removes the jarring effect - the sounds on the G and B strings move in opposite, rather than the same, direction. Just my VHO! Thanks again. Alex
Hi Alex, I can totally see what you mean now you've explained it like that! I think when the chord is played sustained vs swing rhythm would have a big impact on how jarring something like this might feel. Are those Mickey Baker books worth checking out?
@@jazzguitarwithandy Andy, the MB book was brought out many decades ago and was I believe the only book on jazz guitar available at the time. It does not use modern notation so is not so easy to read as more modern material. Maybe not rocket science, but the early parts where he shows fingering for moving between major/minor 6ths and 7ths is worth looking at. I haven't been through the whole book, just the first few chapters.
Grazie Andy!! Very good lesson I love this dong and I ‘ll try to play it with my girlfriend (she’s a real singer) I am just a guitar passionate … I ll try to accompany her .. we’ll see 😊 Ciao Andy😊
this is an excellent lesson! thank you!! Artie Shaw's version brought me here. Absolutely incredible recording and performance. Have been obsessed for 15 years, can never listen just once. Checking out all the versions you recommended now. Thank you!
@@jazzguitarwithandy thanks again, have been playing after your lesson and I checked out all the versions you recommended and they are all fantastic in their own way but that Miles, Monk and Milt one is mind-boggling, each couldn't take a more different approach and it is astounding. Monk after that incredible vibraphone trip to Saturn with his taking it to raw essence, wow. Lester Young one, Monk's solo one, Benny Goodman's - thank you! got a playlist can play 7 versions of this incredible tune all day on repeat now
Andy, thanks a lot. I agree, this is a marvellous tune. The second bar/chord - I would like to play around with that as it doesn't sound exactly kosher to me. Not sure why that is, is it the embellishment? Thanks for taking the trouble to prepare this video.
@@jazzguitarwithandy Hi Andy, I realised that the fingering which you are recommending is missing the Ab and when I play as the standard barre chord in that position it sounds better - at least to me. I'll try your more elaborate suggestion also. Thanks for the reply.
You have no idea how much this helps in the youtube confusion having some clear and interesting jazz lessons
Glad to hear it Marco.
thank you. :)
You're welcome :)
Great!
Thanks 🙏
Hi Andy thanks again for the video. I'm back on this and think I know why I made that comment below. It's to do with the fingering of the E flat 6/9. With that fingering, the move from F to F sharp in the next chord is very, very prominent. That because at the same time as we move to chord 2 it creates a parallel 4th moving up a semitone (C to C sharp). Parallel 4th is just a parallel 5th doing a handstand. All I do different is to use Mickey Baker fingering for E flat 6th (without 9th) in bar 1: only difference is to play on B string G using pinkie rather than F. That removes the jarring effect - the sounds on the G and B strings move in opposite, rather than the same, direction. Just my VHO! Thanks again. Alex
Hi Alex, I can totally see what you mean now you've explained it like that! I think when the chord is played sustained vs swing rhythm would have a big impact on how jarring something like this might feel. Are those Mickey Baker books worth checking out?
@@jazzguitarwithandy Andy, the MB book was brought out many decades ago and was I believe the only book on jazz guitar available at the time. It does not use modern notation so is not so easy to read as more modern material. Maybe not rocket science, but the early parts where he shows fingering for moving between major/minor 6ths and 7ths is worth looking at. I haven't been through the whole book, just the first few chapters.
Grazie Andy!! Very good lesson I love this dong and I ‘ll try to play it with my girlfriend (she’s a real singer) I am just a guitar passionate … I ll try to accompany her .. we’ll see 😊
Ciao Andy😊
Hope it goes well :) A beautiful song
Many thanks Andy. Really inspiring 👍
It’s such a fantastic chord sequence.
this is an excellent lesson! thank you!! Artie Shaw's version brought me here. Absolutely incredible recording and performance. Have been obsessed for 15 years, can never listen just once. Checking out all the versions you recommended now. Thank you!
Thanks for the comment. It's a truly wonderful song. The Artie Shaw version is killer.
@@jazzguitarwithandy thanks again, have been playing after your lesson and I checked out all the versions you recommended and they are all fantastic in their own way but that Miles, Monk and Milt one is mind-boggling, each couldn't take a more different approach and it is astounding. Monk after that incredible vibraphone trip to Saturn with his taking it to raw essence, wow. Lester Young one, Monk's solo one, Benny Goodman's - thank you! got a playlist can play 7 versions of this incredible tune all day on repeat now
Unfortunately i missed it.
I'm happy.
Andy, thanks a lot. I agree, this is a marvellous tune. The second bar/chord - I would like to play around with that as it doesn't sound exactly kosher to me. Not sure why that is, is it the embellishment? Thanks for taking the trouble to prepare this video.
Hey Alex, the Ebm7 or the 2nd time bar with Eb6, Ab6, Eb6, D7 to G7?
@@jazzguitarwithandy Hi Andy, I realised that the fingering which you are recommending is missing the Ab and when I play as the standard barre chord in that position it sounds better - at least to me. I'll try your more elaborate suggestion also. Thanks for the reply.
Might be easier to whistle your way through it