Benson - Hipping The Hop. A bit different, but underneath the funk vibe is a complex head, descending chromatic lines, blues, bob and George gives a clinic on how to play the changes. Christian McBride is the glue that holds the whole thing together.
Hey Barry, you know that famous (somewhat controversial) quote from Parker: ""I remember one night before Monroe’s I was jamming [with guitarist Bill “Biddy” Fleet] in a chili house on Seventh Avenue between 139th and 140th. It was December, 1939. Now I’d been getting bored with the stereotyped changes hat were being used all the time at the time, and I kept thinking there’s bound to be something else. I could hear it sometimes but I couldn’t play it. Well, that night, I was working over Cherokee, and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I’d been hearing. I came alive."? What do you think he meant by "using the higher intervals of a chord as a melody line . . ." Are there examples of that?
I think he's referring to upper structure triads. The 9th, 11th, and 13th. Larry Carlton is big on that. He will do Am Triad over G7, which hits all three of those extensions.
Makes sense. Thanks Kurt.