Chords for Bob Mintzer Meets Rahsaan Roland Kirk
Tempo:
131.55 bpm
Chords used:
Ab
B
A
Eb
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F]
[Ab] [F]
[Eb] [F] I [G] had an interesting experience.
One in particular, I [Gm] remember when I was 18,
[Bm] I had some far-flung notion that I
could go [Db] sit in with Rahsaan Roland
[Gb] Kirk at the Village [Bb] Vanguard.
[Abm] And I was [Gb]
so ill-prepared for this, but just had,
I mean, [B] of course, when you really can't play,
you [Ab] don't know this.
So you do things that you really have no business doing.
[A] And that was definitely the case with me.
So anyway, I got up enough nerve,
I went down to the Village [B] Vanguard.
At the time, I was borrowing an instrument called a conophone.
It was like a straight alto, but in the key of F.
And I thought, in lieu of my inexperience,
[Eb] Rahsaan would at least be somewhat
interested in this instrument.
So maybe he'd take pity on me or whatever, let me play.
So I go down there, and [Bb] I show him this instrument.
And [N]
he's feeling it.
And he's going, yeah, yeah.
So you know, I can play a tune with you?
And [Ab] he went, yeah, OK.
[A] I mean, this was the tradition back then on Sundays.
Whoever [G] was playing the Vanguard would let people
sit in the last set.
So I get up [Ab] there, and [A] there were
some really serious, seasoned, [Abm] experienced people sitting in,
and me, who had no business being there.
And played [Bb] nice, easy blues, [G] like that.
And I thought, oh, thank, [Ab] I'm going to be OK.
Got through the blues, played OK.
Everything seemed good.
And then the next tune was [Gb] Limehouse Blues.
You [Ab] know, da-da-da-da-da-da-da-da-da-da.
Really fast, and I didn't know the tune.
And the head went by in about four seconds.
And they pushed me up to the [E] microphone,
and the rhythm section stopped.
And there I was, and I had a [G] play.
And I made a good mess of that, and [Bb]
had a sort of [A] slink out
of the club, you know, just hoping nobody saw me.
And I went home.
I trailed between my [F] legs.
And that was a real deciding factor in my career,
because [Ab] at that point, number one,
I knew I had a lot more work to do.
And I [G] swore to myself, I would never [Gb] let that happen again.
[Ab] So I went home, and I practiced.
So that was one [N] thing I remember.
Another incident, I mean, from a jazz perspective,
sitting in was sort of one way to get circulating.
I mean, I used to hear people say, well, go sit in.
Go to jam sessions.
Play with people.
Let people get to hear you.
There was a jam session at the Cafe London on 23rd Street.
Bobby Jones, who played with Mingus' band,
led this jam session.
So I went up there, had my tenor.
And you know the octave key on a tenor?
I know this is a brass show, but if that octave key isn't
closing, you're out of business.
I mean, you can maybe play two notes, right?
So because it just, there's no seal up there.
So [B] it really inhibits, it just makes any note below C and B totally resistant.
You can't play it.
So [Bb] unbeknownst to me, this octave mechanism
was not [Ab] working [B] properly.
So I stood up to play.
And I started to play, and I [B] realized
I could only play two notes.
So I started going, [A] da, da, da, da, [E] da, da, da, [Eb] da, da, da, da,
da, da, da, da, da, da, da.
And again, it was [Ab] like, I will never know what's happening,
man.
This is not going very well, you know,
just sitting in New York.
And I thought either they're going to just laugh me out
of the door, or they're going to think,
this is the hip new shit on the scene in New York,
you know, two notes, like minimalist, [Eb] blowing, you know?
Anyway, those are my two experiences,
like playing in New York.
You know, I was not off to [B] a good, smooth start
by any means.
Well, you certainly overcame those early beginnings.
Those kind of experiences kick you in the pants,
and they show you that you better have your act together
when you show up in a place like New York to play, you know?
And I didn't [A]
on [B] many levels.
[C] [Bbm] It was really a motive.
Those were [Eb] motivators, we like to say.
[Ab] [F]
[Eb] [F] I [G] had an interesting experience.
One in particular, I [Gm] remember when I was 18,
[Bm] I had some far-flung notion that I
could go [Db] sit in with Rahsaan Roland
[Gb] Kirk at the Village [Bb] Vanguard.
[Abm] And I was [Gb]
so ill-prepared for this, but just had,
I mean, [B] of course, when you really can't play,
you [Ab] don't know this.
So you do things that you really have no business doing.
[A] And that was definitely the case with me.
So anyway, I got up enough nerve,
I went down to the Village [B] Vanguard.
At the time, I was borrowing an instrument called a conophone.
It was like a straight alto, but in the key of F.
And I thought, in lieu of my inexperience,
[Eb] Rahsaan would at least be somewhat
interested in this instrument.
So maybe he'd take pity on me or whatever, let me play.
So I go down there, and [Bb] I show him this instrument.
And [N]
he's feeling it.
And he's going, yeah, yeah.
So you know, I can play a tune with you?
And [Ab] he went, yeah, OK.
[A] I mean, this was the tradition back then on Sundays.
Whoever [G] was playing the Vanguard would let people
sit in the last set.
So I get up [Ab] there, and [A] there were
some really serious, seasoned, [Abm] experienced people sitting in,
and me, who had no business being there.
And played [Bb] nice, easy blues, [G] like that.
And I thought, oh, thank, [Ab] I'm going to be OK.
Got through the blues, played OK.
Everything seemed good.
And then the next tune was [Gb] Limehouse Blues.
You [Ab] know, da-da-da-da-da-da-da-da-da-da.
Really fast, and I didn't know the tune.
And the head went by in about four seconds.
And they pushed me up to the [E] microphone,
and the rhythm section stopped.
And there I was, and I had a [G] play.
And I made a good mess of that, and [Bb]
had a sort of [A] slink out
of the club, you know, just hoping nobody saw me.
And I went home.
I trailed between my [F] legs.
And that was a real deciding factor in my career,
because [Ab] at that point, number one,
I knew I had a lot more work to do.
And I [G] swore to myself, I would never [Gb] let that happen again.
[Ab] So I went home, and I practiced.
So that was one [N] thing I remember.
Another incident, I mean, from a jazz perspective,
sitting in was sort of one way to get circulating.
I mean, I used to hear people say, well, go sit in.
Go to jam sessions.
Play with people.
Let people get to hear you.
There was a jam session at the Cafe London on 23rd Street.
Bobby Jones, who played with Mingus' band,
led this jam session.
So I went up there, had my tenor.
And you know the octave key on a tenor?
I know this is a brass show, but if that octave key isn't
closing, you're out of business.
I mean, you can maybe play two notes, right?
So because it just, there's no seal up there.
So [B] it really inhibits, it just makes any note below C and B totally resistant.
You can't play it.
So [Bb] unbeknownst to me, this octave mechanism
was not [Ab] working [B] properly.
So I stood up to play.
And I started to play, and I [B] realized
I could only play two notes.
So I started going, [A] da, da, da, da, [E] da, da, da, [Eb] da, da, da, da,
da, da, da, da, da, da, da.
And again, it was [Ab] like, I will never know what's happening,
man.
This is not going very well, you know,
just sitting in New York.
And I thought either they're going to just laugh me out
of the door, or they're going to think,
this is the hip new shit on the scene in New York,
you know, two notes, like minimalist, [Eb] blowing, you know?
Anyway, those are my two experiences,
like playing in New York.
You know, I was not off to [B] a good, smooth start
by any means.
Well, you certainly overcame those early beginnings.
Those kind of experiences kick you in the pants,
and they show you that you better have your act together
when you show up in a place like New York to play, you know?
And I didn't [A]
on [B] many levels.
[C] [Bbm] It was really a motive.
Those were [Eb] motivators, we like to say.
Key:
Ab
B
A
Eb
G
Ab
B
A
_ _ _ _ _ _ [F] _ _
_ _ _ [Ab] _ [F] _ _ _ _
[Eb] _ _ _ _ [F] I [G] had an interesting experience.
One in particular, I [Gm] remember when I was 18,
[Bm] I had some far-flung notion that I
could go [Db] sit in with Rahsaan Roland
[Gb] Kirk at the Village [Bb] Vanguard. _ _ _ _
[Abm] And I _ _ was [Gb]
so ill-prepared for this, but just had,
I mean, [B] of course, when you really can't play,
you [Ab] don't know this.
So you do things that you really have no business doing.
[A] And that was definitely the case with me.
So anyway, I got up enough nerve,
I went down to the Village [B] Vanguard.
At the time, I was borrowing an instrument called a conophone.
It was like a straight alto, but in the key of F.
And I thought, _ _ in lieu of my inexperience,
[Eb] Rahsaan would at least be somewhat
interested in this instrument.
So maybe he'd take pity on me or whatever, let me play.
So I go down there, and [Bb] I show him this instrument.
And [N]
he's feeling it.
And he's going, yeah, yeah.
So you know, I can play a tune with you?
And [Ab] he went, yeah, OK.
[A] I mean, this was the tradition back then on Sundays.
_ Whoever [G] was playing the Vanguard would let people
sit in the last set.
So I get up [Ab] there, and [A] _ _ there were
some really serious, seasoned, [Abm] experienced people sitting in,
and me, who had no business being there.
And played [Bb] nice, easy blues, [G] like that.
And I thought, oh, thank, [Ab] I'm going to be OK.
Got _ through the blues, played OK.
Everything seemed good.
And then the next tune was _ [Gb] Limehouse Blues.
You [Ab] know, da-da-da-da-da-da-da-da-da-da.
Really fast, and I didn't know the tune.
And the head went by in about four seconds.
And they pushed me up to the [E] microphone,
and the rhythm section stopped.
And there I was, and I had a [G] play.
And I made a good mess of that, and _ _ _ [Bb] _
had a sort of [A] slink out
of the club, you know, just hoping nobody saw me. _ _
And I went home.
I trailed between my [F] legs.
And that was a real deciding factor in my career,
because [Ab] at that point, number one,
I knew I had a lot more work to do.
And I [G] swore to myself, I would never [Gb] let that happen again.
[Ab] So I went home, and I practiced.
So that was one [N] thing I remember.
Another _ _ _ incident, I mean, from a jazz perspective,
sitting in was sort of one way to get circulating.
I mean, I used to hear people say, well, go sit in.
Go to jam sessions.
Play with people.
Let people get to hear you.
There was a jam session at the Cafe London on 23rd Street.
Bobby _ Jones, who played with Mingus' band,
led this jam session.
So I went up there, had my tenor.
And you know the octave key on a tenor?
I know this is a brass show, but if that octave key isn't
closing, _ you're out of business.
I mean, you can maybe play two notes, right?
So because _ it just, there's no seal up there.
So [B] it really inhibits, it just makes any note below C and B totally resistant.
You can't play it.
So [Bb] unbeknownst to me, this octave mechanism
was not [Ab] working [B] properly.
So I stood up to play.
And I started to play, and I [B] realized
I could only play two notes.
So I started going, [A] da, da, da, da, [E] da, da, da, [Eb] da, da, da, da,
da, da, da, da, da, da, da.
And _ again, it was [Ab] like, _ _ I will never know what's happening,
man.
This is not going very well, you know,
just sitting in New York.
And I thought either they're going to just laugh me out
of the door, or they're going to think,
this is the hip new shit on the scene in New York,
you know, two notes, like minimalist, [Eb] blowing, you know?
Anyway, those are my two experiences,
like playing in New York.
You know, I was not off to [B] a good, smooth start
by any means.
Well, you certainly overcame those early beginnings.
Those kind of experiences kick you in the pants,
and they show you that you better have your act together
when you show up in a place like New York to play, you know?
And I didn't [A]
on [B] many levels.
[C] [Bbm] It was really a motive.
Those were [Eb] motivators, we like to say. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Ab] _ [F] _ _ _ _
[Eb] _ _ _ _ [F] I [G] had an interesting experience.
One in particular, I [Gm] remember when I was 18,
[Bm] I had some far-flung notion that I
could go [Db] sit in with Rahsaan Roland
[Gb] Kirk at the Village [Bb] Vanguard. _ _ _ _
[Abm] And I _ _ was [Gb]
so ill-prepared for this, but just had,
I mean, [B] of course, when you really can't play,
you [Ab] don't know this.
So you do things that you really have no business doing.
[A] And that was definitely the case with me.
So anyway, I got up enough nerve,
I went down to the Village [B] Vanguard.
At the time, I was borrowing an instrument called a conophone.
It was like a straight alto, but in the key of F.
And I thought, _ _ in lieu of my inexperience,
[Eb] Rahsaan would at least be somewhat
interested in this instrument.
So maybe he'd take pity on me or whatever, let me play.
So I go down there, and [Bb] I show him this instrument.
And [N]
he's feeling it.
And he's going, yeah, yeah.
So you know, I can play a tune with you?
And [Ab] he went, yeah, OK.
[A] I mean, this was the tradition back then on Sundays.
_ Whoever [G] was playing the Vanguard would let people
sit in the last set.
So I get up [Ab] there, and [A] _ _ there were
some really serious, seasoned, [Abm] experienced people sitting in,
and me, who had no business being there.
And played [Bb] nice, easy blues, [G] like that.
And I thought, oh, thank, [Ab] I'm going to be OK.
Got _ through the blues, played OK.
Everything seemed good.
And then the next tune was _ [Gb] Limehouse Blues.
You [Ab] know, da-da-da-da-da-da-da-da-da-da.
Really fast, and I didn't know the tune.
And the head went by in about four seconds.
And they pushed me up to the [E] microphone,
and the rhythm section stopped.
And there I was, and I had a [G] play.
And I made a good mess of that, and _ _ _ [Bb] _
had a sort of [A] slink out
of the club, you know, just hoping nobody saw me. _ _
And I went home.
I trailed between my [F] legs.
And that was a real deciding factor in my career,
because [Ab] at that point, number one,
I knew I had a lot more work to do.
And I [G] swore to myself, I would never [Gb] let that happen again.
[Ab] So I went home, and I practiced.
So that was one [N] thing I remember.
Another _ _ _ incident, I mean, from a jazz perspective,
sitting in was sort of one way to get circulating.
I mean, I used to hear people say, well, go sit in.
Go to jam sessions.
Play with people.
Let people get to hear you.
There was a jam session at the Cafe London on 23rd Street.
Bobby _ Jones, who played with Mingus' band,
led this jam session.
So I went up there, had my tenor.
And you know the octave key on a tenor?
I know this is a brass show, but if that octave key isn't
closing, _ you're out of business.
I mean, you can maybe play two notes, right?
So because _ it just, there's no seal up there.
So [B] it really inhibits, it just makes any note below C and B totally resistant.
You can't play it.
So [Bb] unbeknownst to me, this octave mechanism
was not [Ab] working [B] properly.
So I stood up to play.
And I started to play, and I [B] realized
I could only play two notes.
So I started going, [A] da, da, da, da, [E] da, da, da, [Eb] da, da, da, da,
da, da, da, da, da, da, da.
And _ again, it was [Ab] like, _ _ I will never know what's happening,
man.
This is not going very well, you know,
just sitting in New York.
And I thought either they're going to just laugh me out
of the door, or they're going to think,
this is the hip new shit on the scene in New York,
you know, two notes, like minimalist, [Eb] blowing, you know?
Anyway, those are my two experiences,
like playing in New York.
You know, I was not off to [B] a good, smooth start
by any means.
Well, you certainly overcame those early beginnings.
Those kind of experiences kick you in the pants,
and they show you that you better have your act together
when you show up in a place like New York to play, you know?
And I didn't [A]
on [B] many levels.
[C] [Bbm] It was really a motive.
Those were [Eb] motivators, we like to say. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _