Johnny Smith fans....

Discussion in 'Tab, Tips, Theory and Technique' started by ac15, Feb 24, 2016.

  1. Tim Bowen

    Tim Bowen Poster Extraordinaire

    Mar 17, 2003
    Atlanta/Rome, Georgia, US
    Who else would he be able to speak for, other than himself and his deal there? No different than any one of us making a choice, he just happened to be rather crass with his delivery. The debate in the thread as I read it was about notes having a difference or not based on where they're played. That's what I responded to, not just Smith.

    Right on man. It's the theory forum, we talk about this stuff in depth sometimes. We don't always agree. There are strong opinions.

    Cool. Sems like all the more reason to not give modes the boot. Peace.
  2. slowpinky

    slowpinky Tele-Afflicted

    Jul 24, 2009
    Melbourne ,Australia
    Modes have been a divisive issue for some Jazzers.

    If you study Johnny's solos - he is a master of consonance (I can provide some notated examples but dont have them here now) - in fact I use him as a certain kind of paragon of 'best fit' melody to chord for my students even though he's more well known for his chordal stuff. He approaches chords (more or less) diatonically , with the orthodox dissonances (b5's, #5's , b9's) and the use of secondary dominants. His 8th notes arent as funky as Wes or GB but he is a smooth operator over any standard - his playing is for the most part - scalic in contour - and I like it a lot.
    On the other hand I also like John Coltrane, Wayne Shorter and John Scofield who preferred modes to individual chords to 'excite' their quality - many of them following the path of stucturing the dissonance against the chord with unusual modal qualities and subsequent intervallic interest. Some of the greatest musicians in the planet play or compose with modes.
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