Hi everybody.
I was asked by one of our ex- students(Can Olgun), who's studying at the moment at Manhattan School of music, to be a guest on his new CD. Here's one of his tunes, calles "MS Traumwelt(translated, Dreamworld). The tune is harmonically interesting and has a fairly complicated solo section. I scratched in my version of the written changes, which I often do to make things easier for myself; for instance, instead of F-/C, I wrote Abmaj.7#11/C). Or, at B, I translated Bmaj.7 #5 as G7alt., because that's how I understood the harmonic movement to the next chord.

I was hanging online with barryk and I found used mussers for 4500 and 4800 dollars over at www.malletshop.com.

I couldn't believe that so I inquired why are they were so high priced. I thought I'd pass along the malletshop's answer:

I wonder what Nico thinks about all this.
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As member of Csaba Deseö Sextet
http://www.myspace.com/csabadeseo

I am working on "Somewhere In the Night" by Milton Raskin and Billy May. I first heard it on Cal Tjader's "Soul Sauce" album. See "Check This Out" link. I can't find the sheet music so I am trying to figure out the changes. I stopped listening the recordings and just played some chords that I thought sounded good with the melody. I don't know if I have the changes right or not. I'll work on that more another time. I put these chords into BIAB and started jamming with it. Spent a couple hours tonight. Had fun. Here is a snippet from my jamming and the backing track.

When I practice it takes me a good hour before I can really start to get somewhere. It seems like for me that that first hour doesn't really even count although i have to do it to get past everything else. Get past what? The day, the crap, the business, the other side of the brain stuff.

I think of that and I want to pass it on. I can't imagine I'm unique, most of us must have this buffer that we have to get past. It's probably important to find out where your buffer ends and make a note of it.

Recorded at Studio 202, Budapest, April 2008.
Practicing before our recording session.

Intro and improvisation

Recorded at a very loud - this is a hungarian characteristic... :)) -) club in Hungary, Bekescsaba, 2005 summer.
Akos Kertesz - drums
Marton Pfeff - bass

Csaba Deseö Sextet - Hungary
Csaba Deseö - violin
Istvan Gyarfas - guitar
Gabor Cseke - piano
Peter Olah - bass
György Jeszenszky drums
Richard Szaniszlo - vibes
http://www.myspace.com/csabadeseo

Vibes solo.
This song composed by Csaba Deseö. He is a 71 years old well-known jazz violinist around here and EU.
http://www.myspace.com/csabadeseo

barryk found this video. Here's an example of the traditional grip and a great rendition of a Piazzolla piece 'Nightclub'.

I thought about one thing about Piazzolla and his success. First of all the music is beautiful. I also thought that maybe for classical musicians it was a rare opportunity to play around with 'jazz' harmony. I can't think of better word, but you guys get the idea. The Tango and the Bossa Nova and Samba all use jazz harmonies and I know classical players like to play arrangements of them.

What do you guys think?