Music and Musical Know-how For You

Join Now

Home | How-Tos | Directory | Our Composers | The Rhythms | Play Rhythm | Rhythm Web | Tonematrix | Chord Grid | The Changes | Song Discussions | Public Ideas | SongTrellis Recommends... | Video Links | Great Performances | SongTrellis Music Editor | The Lessons | Jukebox | The Animations | Our Contributors | Latest Topics | Tunetext | Workscore Chord Entry | Chord Entry By Grid | Workscore Composer | Music Tool Lore | Harmonic Interval Palette | Harmony Projects | Search | Video Demonstrations | Playlists | What's a Songtrellis? | FAQ | Feedback

Author David Luebbert
Posted 5/23/01; 4:44:46 PM
Topic All Blues
Msg# 1857 (in response to 600)
Prev/Next 1856/1858
Reads 2862

A SongTrellis reader, Nick Curcio, sent me this interesting comment on the All Blues changes this morning.


Below is a quote from the book "Kind of Blue" by Ashley Kahn, page 142:

"Tenor saxophonist Jimmy Heath, who would fill in for Coltrane for a brief
month in 1960, learned that All Blues had a modal twist that preserved its
link and feel to the album in general:
'When people play it other than in the Miles Davis band, a lot of people
play it where they go from the G chord to C, a traditional blues.  But when
we played "All Blues," Miles would always say don't go to the IV chord on
the second part of that.  He wanted it to stay in the modal concept.  So
he'd go from G7 to a G minor sound, really playing that mode so that let his
improvisation sound a little dissonant, and a little more sophisticated.'"

It's not real detailed, but I have been playing around with it and it's fun,
opens some things up.

Well, good luck.

Nick Curcio

There are responses to this message:
blog comments powered by Disqus

Please join our community at SongTrellis. Our contributors welcome your comments, suggestions and requests. As soon as you join the site (or login if you are a member) a response form will appear here.

Last update: Wednesday, May 23, 2001 at 4:50 PM.