Nardis

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

Nardis

Postby sandywilliams » Mon Apr 02, 2007 9:24 pm

I lucked out last night at Half-Price books. Found a cheap( SACD) copy of Bill Evans’ Explorations, a studio session with Scott LaFaro, and Paul Motion. I’d never had the pleasure of listening to this before. One of the tunes on this recording is Nardis.
While driving down the highway it occurred to me that perhaps this tune is filled with CMGs in action, so to speak. Does anyone concur?
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Postby Andrew » Tue Apr 03, 2007 10:11 pm

That recording is great, and Lafaro really shows his lyricism in that recording.

The Bill Evans trio also played Nardis at the Montreux Jazz Festival, and it's available on CD (Eddie Gomez, Bass; Jack Dejohnette, Drums). Eddie does an incredible bass solo and Dejohnette does an immortal drum solo out-of-time. This recording of Nardis is the first one I'd come across with, and they play it really upbeat, so when I had bought Explorations, I was surprised that Evans originally played it smooth and legato.

The very first recording of Nardis was in Cannonball Adderly's "Portrait of Cannonball" with a bunch of artists, I think a quintet, including Blue Mitchell on trumpet, and Bill Evans on piano. This was just while after "Kind of Blue" and Cannonball loved Evan's lyricism so much that he wanted to do a recording with him. Miles enjoyed the idea, and actually wrote Nardis for the occasion. This version is even more slower than the one on Explorations, and on it you can hear the nice contrast between Evan's lyricism and Cannonball's fiery staccato. Well worth checking out.
"Life finds a way"- Wayne Shorter
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Postby Andrew » Wed Apr 04, 2007 10:24 pm

Oh yeah, and I forgot to answer your question about the CMG's. Yes, he does use quite a few, but some of the modes are actually already in the tune itself.
"Life finds a way"- Wayne Shorter
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Postby sandywilliams » Thu Apr 05, 2007 8:04 pm

Right..that's the point..the tune itself uses them.
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Postby sandywilliams » Fri Apr 06, 2007 10:05 pm

Thanks for the Evans discography tips. I"ll have to check those out. I saw the trio once, in Evanston, IL , summer of 1977( the week Elvis passed).
Have you heard the tapes his son released of rehearsals and practicing, including Bill playing Bach Preludes and Fugues?
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Postby bobappleton » Sat Apr 07, 2007 8:42 am

here's a 1965 version: bill evans, chuck israels, larry bunker
http://www.youtube.com/watch?v=IA7d6P7yXSo
with reference to miles composing nardis for him (at the end)
the sound is terrible, but the picture is nice

in this 1966 version the sound is better, but the picture...
bill evans, eddie gomez, alex riel
http://www.youtube.com/watch?v=gdHstJt9jNk

too bad there's no youtube of george russell's amazing 1961
version from ezz-thetics with eric dolphy
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Postby Alan Smith » Mon Apr 09, 2007 11:10 am

Good to see that the 1957 Brandeis Festival collaboration between Evans, Mr. Russell and Gunther Schuller is on CD at last. I didn't realize it had been reisued 18 months back! What amazing scores ( where else can you hear Mingus, Milton Babbitt, George Russell and Jimmy Guiffre works in the same program?) and a great solo by Evans in the middle of 'All about Rosie'!!

[url]http://www.amazon.com/Brandeis-Jazz-Festival-Bill-Evans/dp/B000AN025K/ref=sr_1_2/104-8724246-4917511?ie=UTF8&s=music&qid=1176134660&sr=1-2[[/url][/url]
Regards

Alan Smith
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Postby Alan Smith » Mon Apr 09, 2007 11:28 am

The Nardis melody seems to be alternating between two scales on the one tonic. An eastern sounding scale, R,b2,3,4, 5,#5,7 and a blues or pentatonic minor on the same root.
Regards

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Postby sandywilliams » Mon Apr 09, 2007 9:21 pm

"The Nardis melody seems to be alternating between two scales on the one tonic. An eastern sounding scale, R,b2,3,4, 5,#5,7 and a blues or pentatonic minor on the same root."
This analysis is true in a horizontal sense but I was thinking of the CMGs as relating to certain chords and verticalized melody. I guess the big clue is the the prevalence of F lydian throughout the piece. Too bad Miles never recorded it!
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Postby bobappleton » Sat Apr 21, 2007 2:44 pm

I'm just re-reading this thread, and wondering if Sandy (?!) might be willing to take on the task of explaining in simple terms what modal genres are, and how the CMG relates to Nardis. I'm looking at the 1964 edition now because my 2001 edition is back in Beijing - so that's my excuse.

When I did the course with Andy Wasserman and George Russell in 2003, Andy was working on a book on the LCC directed towards Elementary School kids. I don't think it's been completed yet, but that would be another great addition to the literature on the Concept.

Bob
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Postby sandywilliams » Sun Apr 22, 2007 7:57 pm

One could treat the first bar(Emi) of Nardis as a VIIh CMG and the fourth bar(Cmaj7) as a Vh, the fifth bar(A minor) as IIIh and the sixth bar as a VIIh. The first chord of the bridge could be treated as a IIIh. These choices are based on fact that the melody as a whole uses F Lydian. You could also treat these chords as PMGs, in fact the fourth bar is often used with a #11, which would indicate a PMG I.
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Postby bobappleton » Tue Apr 24, 2007 11:43 pm

[img]http://www.robertappleton.com/public/nardis1.pdf

Here are the chords I have for Nardis (linked above and pasted below).

So starting with E-7 which is a VII of F Lydian, and A-7 which is a V of F Lydian, how do they become h (horizontal?) and CMG's (Conceptual Modal Genres, meaning either "types of modal ideas" or "ideas about modal types"

Bob


Nardis

4/4 ||: E- | Fmaj7 | B7 | Cmaj7 | A-7 | Fmaj7 | Emaj7 / E-7 |
______
1. E-7 ||
______
2. E-7 || A-7 | Fmaj7+4 | A-7 / Fmaj7+4 | Fmaj7+4 | D-7 | D-7 / G7 |
| Cmaj7 / Fmaj7+4 | Fmaj7+4 || E- | Fmaj7 | B7 | Cmaj7 | A-7 | Fmaj7 | Emaj7 / E-7 | E-7 ||
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Postby sandywilliams » Fri Apr 27, 2007 11:20 am

They are ‘h’ because Em and Am( and C major) are sharp-lying in relation to F Lydian.
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Postby bobappleton » Sat Apr 28, 2007 11:06 pm

Thanks.

And why is E- then a CMG?

Also, how could these chords be considered PMGs (Primary Modal Genres)?

And then: How do you define CMG, PMG and SMG?
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Postby sandywilliams » Sun Apr 29, 2007 2:32 pm

“And why is E- then a CMG?â€
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