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nardis phrygian


[1] The piece has come to be associated with pianist Bill Evans, who recorded it repeatedly. Unlike in the cases of Davis and Adderley, "Nardis" was an important part of Bill Evans's repertoire, as it appears on many of his albums: Trio at Birdland (1960), Explorations (1961), The Solo Sessions, Vol.

Guitarist Ralph Towner recorded the tune for his Solo Concert album, and The John Abercrombie Quartet recorded it on the album Up and Coming. Would you like Wikipedia to always look as professional and up-to-date?

Evans explicitly deems the work as very "modal", see quote. It will enhance any encyclopedic page you visit with the magic of the WIKI 2 technology. The Jazz Resource hompage, Copyright 2008-2020 TheJazzResource.com Privacy Policy. You could also do it yourself at any point in time. George Russell recorded it on his album Ezz-Thetics. Davis never recorded “Nardis”; Adderley recorded it only once.

By 1958, the group consisted of John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums, and had just been expanded to a sextet with the addition of Cannonball Adderley on alto saxophone.

It also appears on many of Evans's filmed appearances.[13]. [4][5] This group backing Davis, Coltrane, and Adderley, with Evans returning for the recording sessions, would make Kind of Blue, often considered the greatest jazz album of all-time. The use of the Phrygian mode and the minor Gypsy scale[12] in this tune is also present in other "Spanish" works from those dates, like Davis's Sketches of Spain.

Nardis makes use harmonically and melodically of the Phrygian dominant scale and the minor Gypsy scale (technically known as the double harmonic scale), and it is set in thirty-two-bar AABA form. It was a very modal sound.

Bill Evans usually played the piece in E minor. The tune is called "Nardis.".

Among others: London (19/March/1965); Oslo (1966), Helsinki (1970); Umbria Jazz (1978); Jazz Manteniance Shop (1980).

Davis never recorded "Nardis", and Adderley only did once. Songs that use phrygian harmony such as "Nardis" or "Speak No Evil" often don't use phrygian scales on the I-7 chord but will use an aeolian scale instead because a natural 9 is always better sounding on minors than a flattened 9. But just for fun, here's how Nardis translates if we make the Phrygian chord our root i: i-bII-V7-bVI iv-bII-I-i (rpt.

Davis at this point was experimenting with modes—i.e. It was written in 1958, during Davis's modal period, to be played by Cannonball Adderley for the album Portrait of Cannonball.
Turn Out the Stars: The Final Village Vanguard Recordings, Milestones – Encyclopædia Britannica Online, https://www.youtube.com/watch?v=kcMWov0_TAE, https://en.wikipedia.org/w/index.php?title=Nardis_(composition)&oldid=977280925, Creative Commons Attribution-ShareAlike License, This page was last edited on 7 September 2020, at 23:49. From 1955 to 1958, Miles Davis was leading what would come to be called his First Great Quintet. Music Scales

Again as usual, overly complex answers from the experts. The tune is called "Nardis.". scale patterns other than major and minor.

or go back to Unlike in the cases of Davis and Adderley, "Nardis" was an important part of Bill Evans's repertoire, as it appears on many of his albums: Trio at Birdland (1960), Explorations (1961), The Solo Sessions, Vol. [6][7][8][9] Adderley left the band in September 1959 to pursue his own career, returning the line-up to a quintet. Turn Out the Stars: The Final Village Vanguard Recordings, Milestones – Encyclopædia Britannica Online, https://www.youtube.com/watch?v=kcMWov0_TAE. This was the group that recorded “Kind of Blue”, considered by many to be the greatest jazz album of all time. "Nardis" is a composition by American jazz musician Miles Davis.
[1], [We're gonna] finish up featuring everyone in the trio with a Miles Davis number that's come to be associated with our group, because no one else seemed to pick up on it after it was written for a Cannonball date I did with Cannonball in 1958—he asked Miles to write a tune for the date [the album Portrait of Cannonball], and Miles came up with this tune; and it was kind of a new type of sound to contend with.

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