[JPL] Joshua Redman

Phillip Greenlief pgsaxo at pacbell.net
Tue May 1 19:27:03 EDT 2007

-----Original Message-----
On Behalf Of Rick McLaughlin
Subject: RE: [JPL] Joshua Redman

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Hey Jae,

A quick thing about this whole Eb7 over G7 bit.  Basically, it results
the altered scale, which is sort of a Jazz Improvisation 101 scale
(there is
one different note, but it's essentially the altered scale). The two
may be very different, but they result in something that sounds just
"Jazz."  Arpeggiate it, play it as a scale, select a melody from the
in the scale, and no matter what - ascending, descending, in 3rds, 4ths,
anything - everyone on this list will recognize the sound.  


Rick McLaughlin

Yes, I used Eb7 over G7, because it's a "no brainer" (for some of us).
But really, any chord can be implied over any other chord in this
context. When you only have a bass player (playing a single note line)
with a saxophone (or any other melodic instrument that plays one line at
a time), you only have two notes sounding at any given time (because
bass and saxophone - unless you're working with multiphonics can only
produce one note at a time - of course bassists can do double stops -
but I digress!). So the idea that any one note of the G7 chord (going
back to my simplest example) is going to work against any one note of
the Eb7 chord in a way that is "musical" to me. It's all about what you
can hear. The more sophisticated ear (a musician's ear, or a composer's
ear) isn't going to hear the majority of those intervallic possibilities
as "wrong" or "not musical". Even Coleman Hawkins did stuff like this,
as did Lester Young, so I'm not really talking about the avant garde
here - I'm talking about freeing yourself in the context of soloing over
chord changes in the jazz tradition.

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