-
burnin...my latest transcription.
and this is the "slow" alt. version. but he plays cooler stuff.
a funny video for it too...
enjoy. solo starts at about 0:38 on video.Last edited by mattymel; 02-16-2012 at 06:27 PM.
-
02-09-2012 08:33 AM
-
Thanks for your hard work. This is a great piece to study how he was dealing with the Jazz Blues structure during that phase of his development....and so much more.
Very generous of you to share this.
-
Thanks, mattymel!
-
i was kind of blown away how over half the stuff is based off of minor 7th arpeggio shapes. also he uses ALOT of 13 to b13 over dominant sounds. harmonically very interesting.
so weird because when i hear him talk about what he plays i get the impression he doesnt think about much. then you look at what he plays and its very harmonically advanced. to me it seems like his whole approach is superimposition of other harmonies (like just about every other great).
anyway, the main reason i wanted to do this one is his time feel is just...impeccable. the whole group actually. lonnie smith's comping is ridiculous on this tune. thanks
-
a few days ago, I posted a link to an lengthy interview with George Benson.
It's well worth reading. seems the player he most admired was Charlie Parker.
He describes his life from his childhood, on right up to last year. playing with Miles, Chet Atkins, Earl Klugh, Freddie Hubbard, Quincy Jones, his approach to music (audience first).
-
lot of work by you, thanks.
-
it seems like his whole approach is superimposition of other harmonies (like just about every other great).
Cool to hear Metheny talk about the subject. He has said that he (Metheny) had a bit of both schools of thought because he initially learned from more old school guys that were all about overlay of harmony, then started playing Gary Burton who was all about chord scales.
-
Wow nice work Matt. His sense of swing and and the way he feels the beat, I feel can have an effect on how he makes his lines sound. The Man can Swing!!
-
Yes. It's all about the time. He could play the most uninteresting lines with THAT rhythm and it would still be badass. Bill Evans up next.
-
Benson doesn't think when playing, nobody does. He hears what his imagination creates, and transfers it in real time (real good time) into the guitar through his brain-hand connection, one of the finest ever evolved. He has his licks, clearly, but there are hundreds of them!
Good on you, mm
-
Originally Posted by ronjazz
also, i hear ALOT of people (especially these days) who are absolutely THINKING as they play. not saying i like what i hear in most of those cases, but its out there nonetheless.Last edited by mattymel; 02-11-2012 at 02:02 AM.
-
Well, I thought you meant while playing. The rule of thumb is to do your thinking in the practice room, and your playing on stage. At most, given the tempos of most jazz, thinking will involve the chord changes. At least that's what most of the established masters have said in various interviews in the past 60 years or so.
-
but CJM said that GB wasn't technically proficient.
right CJM?
-
Originally Posted by mattymel
-
Thanks again, mattymel. I was playing through this all day yesterday!
-
made a few minor changes on this so i reattached the new version to the top...just a few phrasing things and 2 beats of the wrong octave...bill evans "Solar" solo up next...
-
Originally Posted by mattymel
Last edited by ChuckCorbis; 02-17-2012 at 05:24 AM.
Has anyone played or had a Supro Amulet ?
Today, 04:44 AM in Guitar, Amps & Gizmos