Recordings

Music Universe I am playing is b5. Thanks to George Russel to give me the key in that universe. Yes, I have learned chromatic concept of tonal organization for a long time. I start with his lessons and never hear nothing more idiotic then Lydian scales. But I was nasty in order to understand the Jazz mathematics. I tried hard, lesson by lesson. Passing one lesson I was completely forgetting previous. So, I was stepping back and again and again, looping. Finally it took more than 9 years before I have passed 8 lessons and I have got knowledge. Great!

But you never play jazz with knowledge. It is never inspires. And I have discovered that I had a spin effect. After all hard trying's I won much more important than knowledge - this is hearing. I entered in different universe of music. Knowledge also important but depends where you put it. It should be always in the fingers. Once you improvised, if you let knowledge comes out from fingers into the brain, than you stop playing the music, no inspiration. This is not music. You play mathematics.

The best is when you let your fingers to start playing first according to what you are hearing around. Then listen what they propose. In same time if you have good sound you start inspiring. Then brain opens new gates to fingers. They move and propose new melodies and so on. If you got that loop than you play music. That makes sense. Sometimes you have it more, sometimes less. Finally that's defines fillings you have from playing. Some heavy fillings memorized and you are getting touch with inspiration for weeks and months. Even more, you are living with it. It continues up to new performance when new fillings are updating memory. If you never catch the loop and knowledge comes to brain you are risking winning stress and deep depression. In most of the cases I am in depression. However rear positive inspirations cost all depressions.

Now about how to put knowledge into fingers. This is another challenge. This is hard but possible. Key is the lines. Lines give connections between melody colours and geometry shapes. Everyone have its own lines. Having own ones is important while they are coming from soul and built own musical colour, character. Copy-paste lines are foreign colours. They are not in soul. They are in brain. So you never using them for playing Copy-paste lines might be give you something interesting about the shapes. So having lines library you have to practice them every day - memorize together with cords, quantization them to know their size in beats, doing exercises for harmonic rhythmic together with metronome, also pay attention for technique. Finally all lines will go to fingers and you will got knowledge there.

Now about the chromatizm. This is big challenge to get it. Hearing is key here. Once I have got it I was shocked thinking that I loose hearing. While all notes, all intervals become fine in the tune. I have got ability to play solos from the random note on the neck. Then you have no false notes. You can play M3 together with m3, or M7 with m7. All intervals are ok. You consider them as different colours. Sure despite of this freedom you have again false notes. They are coming not from harmony but from the wrong colour you are going to implement for given colour of tune. Having so powerful approach as chromatizm you are starting playing in different mode. For instance me, I have concept of balance. I know where is the middle line, so called 0 point which corresponds to root of tune or cord. Then I am doing displacement in minus or plus directions using intervals, scales and lines. It gives me different colours for tensions. As I say my music universe is b5. So mostly I am going to minus direction.

Now about the b9. This is very strong colour. Sub tone of global b5 colour, but very characteristic. I play arpeggio style for b9. It gives heavy tensions, but you have to know how and where use it.

So, that's it - everything and nothing about my music universe.