In the Gary Burton Jazz Improv class I'm in, we are being asked to do an improvisation for Chick Corea's 500 Miles High.
I'm searching YouTube for a melody-dominant rendering of this song (Return To Forever's version seems to stray after the first run through). I'm looking to burn in some of the really definitive turns of the melody and searching YouTube.
I came across this 3 piece where the guitar player smokes some cool jazz on a Telecaster. Neck pickup of course.
"Back in the day" the Telecaster was played by quite a few jazz and bebop guitarists.
The simplicity of the Telecaster design, especially all those early ones that featured a super lightweight ash body, actually yields a much different playing and "feel" reminiscent of playing a fully acoustic guitar.
Even Barney Kessel showed up with a Tele from time to time.
Joe Messina, one of the original Motown Funk Brothers used a Tele, but only on his jazz and bebop gigs "downtown" but noticeably not in the Motown studios where he was the creme filling of the "oreo cookie" guitar section.
Thanks for sharing that. I think I remember seeing that clip in the Funk Brothers documentary movie. I saw that movie after I got a chance to go through the Motown studio on an AES sponsored tour probably 5-6 years ago. Way cool experience - as our tour also involved a lecture given by Tony Bongiovi (Jon BonJovi's uncle) and David Clark - both guys who worked as engineers at Motown, on the floor of the main studio at Motown. Bongiovi's story is really interesting as he tells it.
Anyways, these days, it seems like most jazz guitar players gravitate towards hollow bodies and semi-hollow bodies. Notable exceptions like Earl Klugh, of course, but that's the way it appears to me.
I also liked those kids' take on 500 miles with their tight vocal harmonies as well.
Speaking of the Motown guitar section, one of the very interesting things we learned on the tour was that they didn't allow guitar amps in the studio. Those guys plugged in directly into some jacks in the box right under the left side of the window under the mixing console and to the right of the short staircase - see this photo:
Here's a close-up shot of that interface:
The whole studio where all of those great Motown hits were recorded isn't terribly big at all, but big enough to get the whole band in there, horn section and all This photo of Stevie and crew gives some idea of the depth of the size of it, again looking towards the window: .There might be another 7-10 feet of depth that isn't in view in that shot. This shot is from the perspective of right about where the trap set was located. The trap set would be off to the photographer's right side and slightly behind him. All of the old 'Dymo' labels for headphone jacks, input jacks, etc. are still stuck on the walls. I seem to remember most of the mic inputs were dropped from above. Reverb tank in the attic. Living quarters upstairs. I would think that they did most of the recordings en masse, with little overdubs. The bulk of the lecture that we were treated to dealt with the EQs that were on-hand there.
For anyone still reading - a visit to the Motown museum, which is the studio where the lion's share of the Motown hits were made, is well worth your time in Detroit. I don't know if the 'normal' tour involves actually spending time in the studio proper like it was for our AES tour or not, but that was a pretty magical space to stand in for an hour or so taking it all in. At least for me. About the only thing that could have made it better would have been if Stevie or Aretha or any of the Funk Brothers would have paid a surprise visit.
Back on topic - thanks for the jazzer tele references.
Pat Martino started out using a Les Paul, made it sound like what people think an archtop brings to the game. There was even a stretch when Pat played a Steinberger and a few custom made planks as well.
Then there are all the semi-solidbody jazz players, the infamous ES-335 among them, it may have hollow side bouts but there is indeed a solid plank going underneath the top from neck to bridge. These designs are favored for their lack of feedback sensitivity when playing at higher volumes.
I used to put on recordings of jazz guitarists who used solidbody guitars of all types for my guitar playing friends, kind of like a doubleblind and then would ask them what type or kind of guitar they heard. As with all sorts of tests of this type, the responses were all over the place, each one depending upon the particular guitar player's perception of what a certain guitar type should sound like.
And in the end, it is really the particular player.
The one recording that none of 'em ever nailed, nobody even ever came close, was Jeff Skunk Baxter blowin' modern jazz and bebop lines on his clear acrylic plastic bodied strat copy. So much for hollow and even the so-called, "tonewoods"...
User Video: Next-Level AI Music Editing with ACE Studio and Band-in-a-Box®
The Bob Doyle Media YouTube channel is known for demonstrating how you can creatively incorporate AI into your projects - from your song projects to avatar building to face swapping, and more!
His latest video, Next-Level AI Music Editing with ACE Studio and Band-in-a-Box, he explains in detail how you can use the Melodist feature in Band-in-a-Box with ACE Studio. Follow along as he goes from "nothing" to "something" with his Band-in-a-Box MIDI Melodist track, using ACE Studio to turn it into a vocal track (or tracks, you'll see) by adding lyrics for those notes that will trigger some amazing AI vocals!
Wir waren fleißig und haben über 50 neue Funktionen und eine erstaunliche Sammlung neuer Inhalte hinzugefügt, darunter 222 RealTracks, neue RealStyles, MIDI SuperTracks, Instrumental Studies, "Songs with Vocals" Artist Performance Sets, abspielbare RealTracks Set 3, abspielbare RealDrums Set 2, zwei neue Sets von "RealDrums Stems", XPro Styles PAK 6, Xtra Styles PAK 17 und mehr!
Add updated printing options, enhanced tracks settings, smoother use of MGU and SGU (BB files) within PowerTracks, and more with the latest PowerTracks Pro Audio 2024 update!
Download and install this to your RealBand 2024 for updated print options, streamlined loading and saving of .SGU & MGU (BB) files, and to add a number of program adjustments that address user-reported bugs and concerns.
Did you know... not only can you download your Band-in-a-Box® Pro, MegaPAK, or PlusPAK purchase - you can also choose to add a flash drive backup copy with the installation files for only $15? It even comes with a Band-in-a-Box® keychain!
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Backup copies are offered during the checkout process on our website.
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Handy flash drive tip: Always try plugging in a USB device the wrong way first? If your flash drive (or other USB plug) doesn't have a symbol to indicate which way is up, look for the side with a seam on the metal connector (it only has a line across one side) - that's the side that either faces down or to the left, depending on your port placement.
Update your Band-in-a-Box® 2024 for Windows® Today!
Update your Band-in-a-Box® 2024 for Windows for free with build 1111!
With this update, there's more control when saving images from the Print Preview window, we've added defaults to the MultiPicker for sorting and font size, updated printing options, updated RealTracks and other content, and addressed user-reported issues with the StylePicker, MIDI Soloists, key signature changes, and more!
A few excerpts:
"The Tracks view is possibly the single most powerful addition in 2024 and opens up a new way to edit and generate accompaniments. Combined with the new MultiPicker Library Window, it makes BIAB nearly perfect as an 'intelligent' composer/arranger program."
"MIDI SuperTracks partial generation showing six variations – each time the section is generated it can be instantly auditioned, re-generated or backed out to a previous generation – and you can do this with any track type. This is MAJOR! This takes musical experimentation and honing an arrangement to a new level, and faster than ever."
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.There might be another 7-10 feet of depth that isn't in view in that shot. This shot is from the perspective of right about where the trap set was located. The trap set would be off to the photographer's right side and slightly behind him. All of the old 'Dymo' labels for headphone jacks, input jacks, etc. are still stuck on the walls. I seem to remember most of the mic inputs were dropped from above. Reverb tank in the attic. Living quarters upstairs. I would think that they did most of the recordings en masse, with little overdubs. The bulk of the lecture that we were treated to dealt with the EQs that were on-hand there.
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