The sound quality is poor but not atrocious. The playing is (of course) magnificent.
Take note of:
- How he works an idea through a chorus.
- How he adjusts tone, attack, space, density and volume depending on Kreisberg’s accompaniment.
- The interactive moments (5:50 is one of many, and listen to how he transforms Kreisberg’s idea ~8:55!).
- The counterpoint toward the end.
- The ending. A reminder that improvising—especially with others—is (supposed to be) FUN!
Comments
7 responses
Hi Bob,
Tanks for this video (in fact i’ve already sawn it but it’s always a pleasure)
But is it in 5/4 or sometimes they play in 7/4 ? I hear two half notes with two dotter quarter …
Oliv
PS: sorry for my english but … try to answer in french 😉
Killin’! Thanks for sharing! Potter’s lines are so killin’ and then you transcribe a few of them and they seem accessible. Just a master of navigating the changes with great melodic invention. (I’m sure it was just a typo but be prepared for everyone to make the 7/4 comment.)
Doh! Typing too fast. It is definitely 7/4 NOT 5/4. Thanks for catching that, guys. 🙂
Maybe i’m wrong but i still believe they are playing sometimes in 7 and sometimes in 5. Not only my ears tell me that but also the board behind Chris with some notes about 3 against 4. And well, since it’s a masterclass, it could be and an example …
Does that make sense ?
Yeah, dopesauce ALL OVER THE JOINT! Wonderful 🙂
It’s definitely in 7/4. That said, at approx five minutes in, Kreisler is playing 10 notes over 7/4, implying a new clave of dotted-quarter, dotted-quarter, half-note (in the implied meter), before returning to the 7/4 clave which is half-note, half-note, dotted-quarter, dotted quarter. Pretty badass.
Oops…. Kreisberg—not Kreisler.