Chords for Carla Bley And Steve Swallow Interview - "Miles Davis".
Tempo:
73.925 bpm
Chords used:
Ab
E
A
Abm
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
So it's been a long time, you've done so many things along the way.
When [Ab] you look back, the experiences, what are your thoughts?
[E] Music has changed so much, [Ab] record labels have changed so much, everything has changed so much.
[D]
Well I just think personally, [E] I wish I had learned to play an instrument at an [Ab] earlier age.
I thought [Bb] I would never have to do that, I would just write the material that musicians use to play.
And I found out about 20 years ago that I had to play an instrument, so I started then.
[E] I'm about 20 years behind [N] everybody now.
But in a way, Steve likes that, because I don't know a single cliché.
That's what he told me yesterday.
I keep waiting for them to begin to appear.
I'm working on it.
So far, no good.
I would just kind of echo in reverse what Carla has said.
I was focused on playing, I'm playing the bass from the time I was a teenager.
And only over time came to sense the importance of writing music as well.
So we've fed into each other.
In that way, I've learned the importance of writing music.
And I've learned, too, the importance of the way in which writing music has affected the way I play.
In what I think is a decidedly positive way.
I've come to realize that the players that I most admire,
Monk, Wayne Shorter, are notable composers as well.
And I can see, as I learned to see,
that their composer identity is responsible for aspects of their player identity
that I especially admire.
And the opposite has kind of happened.
I think [Ab]
we've both come to realize over time that the composer and the player feed each other
and that they're both terribly [A] important to the other.
I [Ab]
suppose, as you mentioned, that [Abm] brings to mind Miles Davis [A] and Wayne Shorter
because Wayne Shorter was writing [N] a lot with Miles Davis.
Yeah.
I think Miles was brilliant at choosing the people he worked with.
And I think in particular he needed players who were compositional.
Wayne most certainly, but Bill Evans as well and numbers of others.
And as the sort of multitude of Miles' recordings, Bootlegs and all of the rest, come out,
if you kind of line them up chronologically, you see the extent to which he was, in fact, composing when he played.
You can see him develop a solo over a period of months and years in a way that [Ab] Louis Armstrong did as well.
And it kind of flies in the face of that myth that jazz is, at its best, entirely spontaneous,
that you make it up from whole cloth every time you pick up your horn.
There are people who work at that and who succeed to one extent or another
in [N] really fabricating a new solo every time [Abm] they play.
But I've come to realize that I'm essentially working on a solo every time I play a particular song.
I'm trying to advance the solo that I'm working on for that particular song.
And I [A] think you do that too.
Oh, absolutely.
And in your band, you really appreciate when the players play the piece they're playing
instead of just playing some yard goods.
Yeah.
[N]
When [Ab] you look back, the experiences, what are your thoughts?
[E] Music has changed so much, [Ab] record labels have changed so much, everything has changed so much.
[D]
Well I just think personally, [E] I wish I had learned to play an instrument at an [Ab] earlier age.
I thought [Bb] I would never have to do that, I would just write the material that musicians use to play.
And I found out about 20 years ago that I had to play an instrument, so I started then.
[E] I'm about 20 years behind [N] everybody now.
But in a way, Steve likes that, because I don't know a single cliché.
That's what he told me yesterday.
I keep waiting for them to begin to appear.
I'm working on it.
So far, no good.
I would just kind of echo in reverse what Carla has said.
I was focused on playing, I'm playing the bass from the time I was a teenager.
And only over time came to sense the importance of writing music as well.
So we've fed into each other.
In that way, I've learned the importance of writing music.
And I've learned, too, the importance of the way in which writing music has affected the way I play.
In what I think is a decidedly positive way.
I've come to realize that the players that I most admire,
Monk, Wayne Shorter, are notable composers as well.
And I can see, as I learned to see,
that their composer identity is responsible for aspects of their player identity
that I especially admire.
And the opposite has kind of happened.
I think [Ab]
we've both come to realize over time that the composer and the player feed each other
and that they're both terribly [A] important to the other.
I [Ab]
suppose, as you mentioned, that [Abm] brings to mind Miles Davis [A] and Wayne Shorter
because Wayne Shorter was writing [N] a lot with Miles Davis.
Yeah.
I think Miles was brilliant at choosing the people he worked with.
And I think in particular he needed players who were compositional.
Wayne most certainly, but Bill Evans as well and numbers of others.
And as the sort of multitude of Miles' recordings, Bootlegs and all of the rest, come out,
if you kind of line them up chronologically, you see the extent to which he was, in fact, composing when he played.
You can see him develop a solo over a period of months and years in a way that [Ab] Louis Armstrong did as well.
And it kind of flies in the face of that myth that jazz is, at its best, entirely spontaneous,
that you make it up from whole cloth every time you pick up your horn.
There are people who work at that and who succeed to one extent or another
in [N] really fabricating a new solo every time [Abm] they play.
But I've come to realize that I'm essentially working on a solo every time I play a particular song.
I'm trying to advance the solo that I'm working on for that particular song.
And I [A] think you do that too.
Oh, absolutely.
And in your band, you really appreciate when the players play the piece they're playing
instead of just playing some yard goods.
Yeah.
[N]
Key:
Ab
E
A
Abm
D
Ab
E
A
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ So it's been a long time, you've done so many things along the way.
When _ [Ab] you look back, the experiences, what are your thoughts?
_ [E] _ Music has changed so much, [Ab] record labels have changed so much, everything has changed so much.
_ [D]
Well I just think personally, [E] I wish I had learned to play an instrument at an [Ab] earlier age.
_ I thought [Bb] I would never have to do that, I would just write the material that musicians use to play.
And I found out about 20 years ago that I had to play an instrument, so I started then.
[E] I'm about 20 years behind [N] everybody now.
But in a way, Steve likes that, because I don't know a single cliché.
That's what he told me yesterday.
_ I keep waiting for them to begin to appear.
I'm working on it.
So far, no good.
I would just kind of echo in reverse what Carla has said.
I was focused on playing, I'm playing the bass from the time I was a teenager.
And only over time came to sense the importance of writing music as well.
So _ _ we've fed into each other.
_ In that way, I've learned the importance of writing music.
And I've learned, too, the importance of _ _ the way in which writing music has affected the way I play.
In what I think is a decidedly positive way.
I've come to realize that the players that I most admire,
_ Monk, Wayne Shorter, are notable composers as well.
And I can see, as I _ learned to see,
_ that their _ _ _ composer identity is responsible for _ aspects of their player identity
that I especially _ admire.
And the opposite has kind of happened.
I think [Ab]
we've both come to realize over time that the composer and the player feed each other
and that they're both terribly [A] important to the other.
I [Ab]
suppose, as you mentioned, that [Abm] brings to mind Miles Davis [A] and Wayne Shorter
because Wayne Shorter was writing [N] a lot with Miles Davis.
Yeah.
_ _ I think _ Miles _ was _ _ _ brilliant at choosing the people he _ worked with.
And I think in particular he needed _ _ players who were compositional.
_ _ Wayne most certainly, but Bill Evans as well and numbers of others.
And as the sort of multitude of Miles' recordings, Bootlegs and all of the rest, come out,
if you kind of line them up chronologically, you see the extent to which he was, in fact, composing when he played.
You can see him develop a solo over a period of months and years in a way that [Ab] Louis Armstrong did as well.
And it kind of flies in the face of that myth that jazz is, at its best, entirely spontaneous,
that you make it up from whole cloth every time you pick up your horn.
There are people who work at that and who succeed to one extent or another
in [N] really fabricating a new solo every time [Abm] they play.
But I've come to realize that I'm essentially working on a solo every time I play a particular song.
I'm trying to advance the solo that I'm working on for that particular song.
And I [A] think you do that too.
Oh, absolutely.
And in your band, you really appreciate when the players play the piece they're playing
instead of just playing some yard goods.
Yeah. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ So it's been a long time, you've done so many things along the way.
When _ [Ab] you look back, the experiences, what are your thoughts?
_ [E] _ Music has changed so much, [Ab] record labels have changed so much, everything has changed so much.
_ [D]
Well I just think personally, [E] I wish I had learned to play an instrument at an [Ab] earlier age.
_ I thought [Bb] I would never have to do that, I would just write the material that musicians use to play.
And I found out about 20 years ago that I had to play an instrument, so I started then.
[E] I'm about 20 years behind [N] everybody now.
But in a way, Steve likes that, because I don't know a single cliché.
That's what he told me yesterday.
_ I keep waiting for them to begin to appear.
I'm working on it.
So far, no good.
I would just kind of echo in reverse what Carla has said.
I was focused on playing, I'm playing the bass from the time I was a teenager.
And only over time came to sense the importance of writing music as well.
So _ _ we've fed into each other.
_ In that way, I've learned the importance of writing music.
And I've learned, too, the importance of _ _ the way in which writing music has affected the way I play.
In what I think is a decidedly positive way.
I've come to realize that the players that I most admire,
_ Monk, Wayne Shorter, are notable composers as well.
And I can see, as I _ learned to see,
_ that their _ _ _ composer identity is responsible for _ aspects of their player identity
that I especially _ admire.
And the opposite has kind of happened.
I think [Ab]
we've both come to realize over time that the composer and the player feed each other
and that they're both terribly [A] important to the other.
I [Ab]
suppose, as you mentioned, that [Abm] brings to mind Miles Davis [A] and Wayne Shorter
because Wayne Shorter was writing [N] a lot with Miles Davis.
Yeah.
_ _ I think _ Miles _ was _ _ _ brilliant at choosing the people he _ worked with.
And I think in particular he needed _ _ players who were compositional.
_ _ Wayne most certainly, but Bill Evans as well and numbers of others.
And as the sort of multitude of Miles' recordings, Bootlegs and all of the rest, come out,
if you kind of line them up chronologically, you see the extent to which he was, in fact, composing when he played.
You can see him develop a solo over a period of months and years in a way that [Ab] Louis Armstrong did as well.
And it kind of flies in the face of that myth that jazz is, at its best, entirely spontaneous,
that you make it up from whole cloth every time you pick up your horn.
There are people who work at that and who succeed to one extent or another
in [N] really fabricating a new solo every time [Abm] they play.
But I've come to realize that I'm essentially working on a solo every time I play a particular song.
I'm trying to advance the solo that I'm working on for that particular song.
And I [A] think you do that too.
Oh, absolutely.
And in your band, you really appreciate when the players play the piece they're playing
instead of just playing some yard goods.
Yeah. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _