Originally Posted By: Mac
Originally Posted By: raymb1
...the first two bars are Dm7/G7/| Cmaj7///| he would play; F#m7b5/B13/ | Em7/A13/ | .


An old school pianist once told me when I was a lot younger his interpretation of the retrogression theories.

IIRC I asked him how he could appear to be following a fake chart yet wasn't playin' too many of the chords on the chart, yet his playing was always fantastic, always behind the beat, always had the blooz underlying everything.

He simply said, "Look, if the chord you choose shares two or mo' of the same notes, give it a shot." grin

Took me years to work on that, though. Still am. heh.


--Mac


Ha, that's a great line Mac, and just further identifies the greatness of Jazz, (you know the one, start by throwing the rule book away)

OK, Seriously, Horst Jankowski did exactly what you and 'Later Ray' mentioned with "A Walk In The Black Forest" back in 1965.

The way he used inversions provided sensational tension and therefore created the opportunity for resolution that was absolutely amazing, while it was the string section that held the chord structure of the song.

Many average listeners probably don't completely comprehend why they like what they hear. Those hidden nuances are what contributed to the greatness of musicians such as Jankowski, Bill Evans and many more.

I think we all can agree: it's not always "what you play", it's "how you play it"

Trevor

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