The Jimmy Bruno Thread

**derek** · 06-24-2010, 11:56 AM

We are honored to have Jimmy Bruno on board as a member, and wanted to create a thread where other members could interact with him on all things jazz.

**princeplanet** · 06-24-2010, 12:34 PM

Are you saying we can ask him questions in this thread?

**billkath** · 06-24-2010, 12:48 PM

Welcome, Jimmy!

**JohnW400** · 06-24-2010, 12:50 PM

Jimmy,

Are there any plans to record any more guitar duo/trio albums? or maybe another one with Joey D?

Thanks

**jimmyb** · 06-24-2010, 12:58 PM

Originally Posted by JohnW400

Jimmy,

Are there any plans to record any more guitar duo/trio albums? or maybe another one with Joey D?

Thanks

Hi John, I am currently working a new trio with John Blake on violin and Gerald Veasley on electric bass. We will probably start rehearsing some new material in Sept.
I will keep you all posted. It will be awhile as I have a very busy summer schedule.

All the best -----jb

**princeplanet** · 06-24-2010, 01:21 PM

Hey Jimmy, I was just asking this on another thread but thought I might see if you could answer it. Why have jazz guitarists not embraced the tuning in 4ths idea? Given that you are into pragmatism, have you been tempted with the idea yourself or know anyone that has had success with it? What is your take on these symmetrical tunings, be they consecutive 4ths or 3rds (7 string)?
Cheers.

**jimmyb** · 06-24-2010, 01:32 PM

Originally Posted by gersdal

Ah, well... Just being honest

I'm at the moment very keen on improving my comping playing and rhythm playing. I've got the impression that the JBI is more on improvising. What's your opinion on that?

There is every possible chord on the guitar (or almost) on the JBGI.

Practicing comping is a tough one. You can't practice it without having a soloist. You can learn the voicings etc but to comp well you need to have a soloist. Comping is about making a good background pad for the soloist and to stay out of his way.

You also need a large chord vocabulary to do it well.

Example: Am7 D7 = chords soloist is using

You play a C triad then move the G down a 1/2 step then the E to eb.

Just one of many examples. You can also use various voicings of the above on any 3 adjacent strings.

jb

**jimmyb** · 06-24-2010, 01:36 PM

Originally Posted by princeplanet

Hey Jimmy, I was just asking this on another thread but thought I might see if you could answer it. Why have jazz guitarists not embraced the tuning in 4ths idea? Given that you are into pragmatism, have you been tempted with the idea yourself or know anyone that has had success with it? What is your take on these symmetrical tunings, be they consecutive 4ths or 3rds (7 string)?
Cheers.

I have found that type of tuning to be very ineffective since I have trained my ears to know beforehand what sound will come out when I put my fingers down. It would take another life time if I were to change the tuning.

Just my opinion. I was always into the music first and not so much the sound produced by altering tunings.

There is a guy however named Preston Reed ( a good friend) who does it very well. An amazing guitarist who writes amazing music. A lot of tunes have a specific tuning. I have no idea how he does it.

jb

**JazzVocab** · 06-24-2010, 01:48 PM

Hi Jimmy, what would your all time alive/passed away band be if you a part of it?

Dan

**jimmyb** · 06-24-2010, 01:55 PM

Originally Posted by Foulds Jazz Guitars

Hi Jimmy, what would your all time alive/passed away band be if you a part of it?

Dan

That would be very hard to answer. If I were to include everyone I would love to play with, it would be a rather very large band!!!!!!!!!!!!!!!!!!

jb

**princeplanet** · 06-24-2010, 11:40 PM

Your teaching strategies seem to be an effective alternative to traditional teaching methods, but are there some books out there that you'd still be wiling to endorse? D. Baker's Bebop series, some of the Aebersolds, Levine?

Oh, and where do you stand on the "licks vs no licks" debate that seems to permeate these kinda forums?

**jimmyb** · 06-25-2010, 06:58 AM

Originally Posted by princeplanet

Your teaching strategies seem to be an effective alternative to traditional teaching methods, but are there some books out there that you'd still be wiling to endorse? D. Baker's Bebop series, some of the Aebersolds, Levine?

Oh, and where do you stand on the "licks vs no licks" debate that seems to permeate these kinda forums?

I was never a book guy. I learned by ear mostly. Licks are OK as long as they do not become what you play when you improvise. What happens is that guys play one lick after another. Music is organic. Lines should come from the line you previously played. They should grow from one another.

jb

**princeplanet** · 06-25-2010, 01:28 PM

OK, as the other posters haven't been giving you too much trouble today, I just wanna pick your brain about something. It's my opinion that many great players make lousy teachers eg George Benson who freely admits this. It's understandable that people who have been playing for decades just plain forget the tribulations of the learner and take many things for granted. For example, here is an observation: Advanced players can not only sing great ideas in improv, but they can play what they sing immediately anywhere on the guitar in any key. Do you agree with this? And if so, do you agree that this may be the single most important skill the aspiring jazz guitarist/musician should strive to acquire?
As something that now comes easy for you, do you remember what it was like when you struggled with this? is this something you yourself now try to teach?
How?

**jimmyb** · 06-25-2010, 01:53 PM

Originally Posted by princeplanet

OK, as the other posters haven't been giving you too much trouble today, I just wanna pick your brain about something. It's my opinion that many great players make lousy teachers eg George Benson who freely admits this. It's understandable that people who have been playing for decades just plain forget the tribulations of the learner and take many things for granted. For example, here is an observation: Advanced players can not only sing great ideas in improv, but they can play what they sing immediately anywhere on the guitar in any key. Do you agree with this? And if so, do you agree that this may be the single most important skill the aspiring jazz guitarist/musician should strive to acquire?
As something that now comes easy for you, do you remember what it was like when you struggled with this? is this something you yourself now try to teach?
How?

Great question. I would agree with you about 90%. With music there is never any absolutes. Sometimes musical ideas can come from the line you previously played or something the piano or drums did.

The most important thing for a guitarist is to get a connection between your ears and your fingers. One must know what sounds happen when you put your fingers down. In that way both things come together the singing what you play and the invention of ideas.

I do it by limiting a student where he can play on the fingerbaord. By repetition the ears connect with the fingers. There are far too many fingerings presented the beginning improvisor so he endlessly is in search for the magic book or method.

You can never make any decent music without an ear. Music is sound NOT theory. The theory comes after the fact and at that point --- who needs it.

Yes I do remember when I was trying to make music. Until I developed my ear it was extremely difficult.

I don't think that all great players make bad teachers but there are many but they usually know it and don't teach.

**Jazzaluk** · 06-30-2010, 06:15 PM

Hi Jimmy, glad to see you are finding time to answer a few questions on this site.

I appreciate that the JBI site focuses primarily on single line playing comping but I was wondering if you are also including some solo finger-style jazz lessons on the JBI site.

I really liked your (impromptu) finger-style arrangement of "Our Love Is Here To Stay" which I found on YouTube. I thought it was a very accessible and fun to play arrangement and it was a brilliant application of familiar chord voicings. I confess to stealing the arrangement and playing it for family and friends. Its a big hit.

As a finger-style player, and a former JBI member, I would definitely be interested in some online lessons in this area.

**jimmyb** · 06-30-2010, 06:41 PM

Originally Posted by Jazzaluk

Hi Jimmy, glad to see you are finding time to answer a few questions on this site.

I appreciate that the JBI site focuses primarily on single line playing comping but I was wondering if you are also including some solo finger-style jazz lessons on the JBI site.

I really liked your (impromptu) finger-style arrangement of "Our Love Is Here To Stay" which I found on YouTube. I thought it was a very accessible and fun to play arrangement and it was a brilliant application of familiar chord voicings. I confess to stealing the arrangement and playing it for family and friends. Its a big hit.

As a finger-style player, and a former JBI member, I would definitely be interested in some online lessons in this area.

There is plenty of of chord soloing, comping, finger style ( a new level Five) stuff but unfortunately you can't just start there.

Chord soloing and solo guitar playing come from single note lines and getting your fingers to do what you hear.

It's the most advanced form of improvisation. You need a good background in single note lines.

However, if you just want solo guitar arrangements without knowing what's behind them, you can find plenty of that in magazines etc.
jb

PS, if you can lift that arrangement you should definitely check out the new level five material

Baltar Hornbeek · 07-07-2010, 01:23 AM

Hey Jimmy,

We here often gripe about the struggles of the professional musician. Many seem to feel that a strong musicians union could help alleviate their problems. Do you have any experience with music unions? Do you support any? In general what's your opinion on them?

Also, is it true you once gigged at Hefner's Mansion?

**jimmyb** · 07-07-2010, 11:38 AM

Originally Posted by Baltar Hornbeek

Hey Jimmy,

We here often gripe about the struggles of the professional musician. Many seem to feel that a strong musicians union could help alleviate their problems. Do you have any experience with music unions? Do you support any? In general what's your opinion on them?

Also, is it true you once gigged at Hefner's Mansion?

Musicians unions never did anything for jazz musicians

**jimmyb** · 07-07-2010, 11:39 AM

Originally Posted by Baltar Hornbeek

Hey Jimmy,

We here often gripe about the struggles of the professional musician. Many seem to feel that a strong musicians union could help alleviate their problems. Do you have any experience with music unions? Do you support any? In general what's your opinion on them?

Also, is it true you once gigged at Hefner's Mansion?

Yeah, I did play there several times

**jazzbow** · 07-07-2010, 04:47 PM

Mr Bruno, welcome to this site.

May I just say your 'No nonsense jazz guitar' DVD and 'Six essential fingerings' publications led me to the biggest eureka moments with my guitar playing. Ever!
Thanks mate.

**JohnW400** · 07-07-2010, 04:52 PM

Originally Posted by jimmyb

Yeah, I did play there several times

Jimmy,

Any anecdotes you'd like to share about those gigs?

BTW, tell us where you'll be playing and when you'll be back to Smalls

Thanks

**derek** · 07-08-2010, 02:05 PM

Jimmy,

I have been very tempted to join your institute since it first came out. A couple of things have stopped me. First is, I am one of those guys who's knowledge outpaces his ability on the instrument. I have studied a number of years with many fine players/instructors, but due to job and family demands, have not put in the time needed to really have this stuff under my fingers as well as it should.

Second is the prospect of learning yet another set of fingerings. It seems to me that the one of the most difficult parts of this process is the muscle memory of getting patterns down. I have read enough about your approach (have 2 of your vids and 1 book), that I know you have a very well thought out system that greatly benefits the player.

Do you mind addressing these topics? Thanks

**jimmyb** · 07-08-2010, 02:19 PM

Originally Posted by derek

Jimmy,

I have been very tempted to join your institute since it first came out. A couple of things have stopped me. First is, I am one of those guys who's knowledge outpaces his ability on the instrument. I have studied a number of years with many fine players/instructors, but due to job and family demands, have not put in the time needed to really have this stuff under my fingers as well as it should.

Second is the prospect of learning yet another set of fingerings. It seems to me that the one of the most difficult parts of this process is the muscle memory of getting patterns down. I have read enough about your approach (have 2 of your vids and 1 book), that I know you have a very well thought out system that greatly benefits the player.

Do you mind addressing these topics? Thanks

You still need to put in the time required. No method will help you if you don't apply it the instrument.

The school is very different than the DVDS and the books .

There are plenty of sites that can give you instant arrangements and specific lines to play. From what you have told me your fastest route to making music may be sites like that.

Good luck to you

**jimmyb** · 07-08-2010, 02:21 PM

Originally Posted by JohnW400

Jimmy,

Any anecdotes you'd like to share about those gigs?

BTW, tell us where you'll be playing and when you'll be back to Smalls

Thanks

Those gigs were pretty straight forward. Hefner was a very nice guy and he loves the straight ahead jazz.

JB

**jimiclaptoncarl** · 07-25-2010, 12:36 AM

Originally Posted by jimmyb

Yes I do remember when I was trying to make music. Until I developed my ear it was extremely difficult.

Hey Mr. Bruno,

Can you share your thoughts on how you developed your ear, as well as how we who aren't quite there yet should go about developing our ears?

Thanks!