This is from last Sunday. In the moment improv on the tenor. Simultaneously scary and thrilling, but the key to free improv is acceptance of being “off”: As I said to a friend of mine the other night, own mistakes. Play it twice and it’s a pattern. Follow it wherever it may lead.youtu.be/XBQsNnsTSmg
I have been re-reading a favorite book, “The Freedom Principle: Jazz After 1958” by John Litweiler. It’s reinforced my determination to plow this furrow. This is pretty typical of what I do over the course of my regular Sunday afternoon gig.
Still not to my second year on banjo. I have lots of room to improve, but it’s fun.
My line about mixed molecules is what I heard in your improv. I'm sure there's plenty more there than just what I heard. Here's a longer session with Stochelo and Romane you will no doubt enjoy and some great jazz bass too:
This morning I downloaded one of the Selmer #607 albums- happily, I have been feeding on Paul’s YouTube jazz manouche links. Had to get a bigger dose.
I come back to that earlier thread: The kinds of lines and phrasing used by Django and his successors just seems to fit the plectrum and tenor banjos very well. Time to do some more exploring on that front.
I wish Jimmy could have held it all together, because I really think he is no.2 to Django. What do you think Rudy, Paul? Maybe he will make a great comeback. Time will tell. He has such a tremendous feel.
I hope Jimmy comes back stronger than ever and I think he will. I tend to really favor Joscho Stephan as my favorite. And it's great to see that Frank Vignola has made a complete recovery from his tragic accident. Thank God he can play again.
I had chance to play in France a couple of times, at Bluegrass festivals. But in some late night jams, I had opportunity to hear some amazing Gypsy players. Underground stuff.......so many tremendous players we never hear of. Very, very cool.
I see it as a blending of an inherited great gift combined with apprenticeship. Like all great talent, it's God given and nurtured from early childhood---almost without exception. Skills and technique are handed down and preserved from one generation to the next. Every great player you can name started out the journey as a small child. When you hear these guys play, you hear an entire lifetime of dedication behind every nuance.
youtu.be/kYvOxcjLu1IAnd this supports the theory: Frank’s brilliance aside, check out what Josh Pinkham does on mandolin. I figure the same approach would work on tenor (given the parallel tuning especially) and plectrum:
For the handful of you out there who are Gypsy Jazz Guitar lovers, you'll enjoy this. It's Jimmy Rosenberg when he was only eleven years old already playing like he's got 40 years under his fingers. Just a little guy with a soaring colossal talent: