[Dixielandjazz] Chords v. Melody

[Goggin, Brian (Dublin)]

I'd say Body and Soul was a combination of both really. 
His first chorus isn't a million miles away from the melody, while a lot of
the rest is more chordal I guess.
Does that sound fair enough?

> -----Original Message-----
> From:	Stephen Barbone [SMTP:barbonestreet at earthlink.net]
> Sent:	Wednesday, January 22, 2003 3:53 PM
> To:	Goggin, Brian (Dublin)
> Cc:	Dixieland Jazz Mailing List
> Subject:	Re: [Dixielandjazz] Chords v. Melody
> 
> Coleman Hawkins, with whom I gigged a few times in the 1950s, NYC, did it
> all. He was a melodic improviser, and then a chordal improviser as "jazz"
> changed. Interesting analysis would be to get everyone's opinion on
> whether
> is famous "Body and Soul" was chordal. and/or melodic. What do DJMLers
> think?
> 
> Many folks believe chordal improvisation took off with the beboppers. That
> their solos became noted for "running the changes" rather than
> embellishing
> the melody. Lots of discussion there. For many of us hear melody in some
> of
> the most complex solos imaginable. Again, there is no defined line where
> one
> becomes the other.
> 
> Cheers,
> Steve
> 
> "Goggin, Brian (Dublin)" wrote:
> 
> > I thought Coleman Hawkins was one of the most respected and early
> chordal
> > improvisers?
> >
> > > -----Original Message-----
> > > From: Stephen Barbone [SMTP:barbonestreet at earthlink.net]
> > > Sent: Tuesday, January 21, 2003 6:09 PM
> > > To:   Dixieland Jazz Mailing List
> > > Subject:      [Dixielandjazz] Chords v. Melody
> > >
> > > Not sure who originally posted this (polite snip)
> > >
> > > "I used to know a reed guy that actually "read" the chords as they
> > > passed through his head.  He had one of those curious minds that can
> > > actually "see" things, and he would scroll through a song, literally.
> > > Became
> > > particularly funny if he somehow got distracted and jumped a beat or a
> > > measure.  There was no way for him to stop scrolling, so he would
> > > happily play out the rest of his solo one beat or one bar behind or
> > > ahead, depending on the jump he had made.  No sort of honking or
> yelling
> > > from those around could bring him back on beat as he was "reading",
> and
> > > played what he read."
> > >
> > > List mates:
> > >
> > > That experience can be a trip. I've worked in two bands that used
> banjo
> > > players that need the chord charts in order to play. Even for Bill
> > > Bailey, or Saints. Take them away and they get lost.
> > >
> > > Relating to the above post, both of these bands play verse and chorus
> of
> > > somewhat obscure tunes. Mixing up the times when either verse of
> chorus
> > > is played. The leaders yell out "verse", or "chorus" about one measure
> > > before you are at the beginning of either one.
> > >
> > > Both banjo players are concentrating so hard on reading the chords,
> > > counting measures, etc. they sometimes miss the leader's direction.
> And
> > > then we get a band playing verse and the banjo playing chorus. It has
> > > become my job in these bands to get the banjo back on track by looking
> > > at his chord chart and yelling "VERSE, BAR 17 (the number of the next
> > > measure coming up) so that the banjo can get back in sync. My job as
> the
> > > reed player in these bands becomes more than just noodling around the
> > > chords
> > >
> > > In that regard, many bands define the reed man's job as playing the
> 3rd
> > > above the trumpet line in the melody ensembles so I always ask the
> > > leader when playing in a "new" band as a reed sideman how he/she wants
> > > me to play. Most are pretty laid back about it and say whatever you
> > > want, but some are very specific. Just about all have slightly
> different
> > > ideas about what my job is. I view it as 1) please the leader, 2)
> please
> > > the audience.
> > >
> > > Regarding bop or modern jazz much of that improv is a new melody line
> on
> > > the existing chord structure of an original tune. Eg. Koko, Hot House,
> > > Donna Lee, Hackensack, Evidence etc.., etc., etc. So IMO it is
> > > impossible to try and categorize exactly what happens in, what Louis,
> or
> > > Eddie Condon, or Charlie Parker called, music.
> > >
> > > Want to hear great Melody Improv? Listen to Louis ot Sidney Bechet.
> Want
> > > to hear some great chordal improv? Listen to Benny Goodman and all his
> > > various clones. Want to hear "far out" improvisation? No need to get
> hip
> > > with Joe Lovano, or Keith Jarrett, listen to Bix or Pee Wee Russell.
> > >
> > > Cheers,
> > > Steve Barbone
> > >
> > >
> > >
> > >
> > > _______________________________________________
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>