@Jim: John Jorgenson is something else, isn’t he? The ease with which he switches from rock to country to jazz and back again is mindblowing. I don’t know enough about country to really assess his skills, but in the jazz realm his playing is top notch.
Curious as to what you think of players like Bill Frisell who have turned to country and rock. He has a band with a slide guitar player mixing jazz and country. I think he is a fan of country, but does he play it well, I wouldn’t know.
Respect!
@Matt:
Thanks. For the most part I rarely consider alterations (like: Cm11 for Cm7), since I don’t use piano or guitar accompaniment on Biab. But horn players and some guitarists do. So you are very right to point this out. It’s essential to get the piano or guitar part play intresting things. I mostly think Realbook: get the basic chords down and leave the analysis to the player. But with a midi software, that doesn’t work. On the other hand, for the bass part, it’s all the same. The midi system in Band in a Box doesn’t know these chords in the bass department and ignores every alteration, sadly. (Even a b9 or b13)

More important for me though is your first suggestion: bar 14. Your use of the bass note makes for a very nice transition to the E chord (b2 substitution, I think we should call it or tritone sub for some).

I dig the suggestion to go for Eb on the C min chord, though I think what Bob Berg is trying to stress is the Phrygian character of the I chord (Cminor) in the interlude as a contrast to the “normal” minor I chord. But, Eb would add some nice bass movement. For me it’s more like Dblydian with C in the bass.
Thanks for the intresting suggestions.

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Biab, Kontakt, Sampletank and lots of nice libraries, from Fluffy audio to Abbey Road drums.
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