The Jazz Guitar Chord Dictionary
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  1. #1

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    From an instructional design perspective, not so well presented but Clint is an impressive player with alternate picking chops galore who clearly understands all the licks he plays.

    He's played in both country/western swing contexts (with Merle Haggaerd, Tom Morrell and the Time Warp Tophands) and straight ahead jazz gigs.



    Some more Clint ...

    Amazing Jazz Guitarist Clint Strong Plays and Reviews ESP LTD Xtone PC-1V Guitar - YouTube

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    great edu video!

  4. #3

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    I was just watching this...Clint is a pretty amazing player...his take on Bob Wills Right or Wrong is cool.

  5. #4

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    If I see him at the Dallas International Guitar Festival this year, I will ask him about his video and maybe getting with him to burn a copy.

  6. #5

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    Quote Originally Posted by AlsoRan
    If I see him at the Dallas International Guitar Festival this year, I will ask him about his video and maybe getting with him to burn a copy.
    He's a monster player. And versatile. He should be better known.

  7. #6

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    I wanna re start the debate, now that we have the whole video after all these years, about how peeps feel about Clint's playing. In another thread a few years back there was mention of him seeming to be a "lick player"... and so another "licks vs no licks" debate ensued. Nothing wrong with that, always an important discussion to be had.

    For me, Clint has some great lines, I hear HR, Wes, Martino, Tal etc but I also sense Hank Garland or Johnny Smith in there... We hear how he combines his licks in these "etudes", but to think that he plays like that when performing is a little unfair! He's no more a lick player than Wes or Bird. Let's face it, with those cats it was very often about how they combined their lines. Sure, they may have been able to do the motif development thing, as I'm sure Clint can, but it really wasn't their main thing- even though it sometimes sounded like it. There are many times when listening to both Bird or Wes (obviously many others too) where I might have once thought they were totally free wheeling, only to discover the same material crop up again and again.... Ha, I might have even been disappointed that these titans weren't super human freaks after all.

    And then you begin to realise, after many years practice, that, yeah, they certainly were super human freaks after all. I certainly no longer hold it against players if I can start to hear their pet lines, I just hear it as their style. So any way, what do you guys think of Clint? Who would you compare him to? If you prefer other modern Boppers like Birelli, Oberg, Bernstein, etc, then why?
    Last edited by princeplanet; 04-09-2018 at 01:49 PM.

  8. #7

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    Silly me. I just noticed the link at the top to the FULL video.

    How cool.

  9. #8

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    Quote Originally Posted by djg
    clint strong is the real deal.


    Oh yeah, you gotta listen to this clip, it's one ugly guitar I gotta say, but man, his solo is winning, even his comping makes me smile. Guys got soul, I'm gonna come right out and say this is as good as it gets, this guy would hold his own in the company of a Wes or a GB. No records under his own name, though, which maybe why he's not known. Then again, Danny Gatton (another monster) remains relatively obscure as well....

    Maybe the Jazz Police won't take you seriously if you dabbled in Country music, eh ....

  10. #9

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    Quote Originally Posted by princeplanet
    I wanna re start the debate, now that we have the whole video after all these years, about how peeps feel about Clint's playing. In another thread a few years back there was mention of him seeming to be a "lick player"... and so another "licks vs no licks" debate ensued. Nothing wrong with that, always an important discussion to be had.

    For me, Clint has some great lines, I hear HR, Wes, Martino, Tal etc but I also sense Hank Garland or Johnny Smith in there... We hear how he combines his licks in these "etudes", but to think that he plays like that when performing is a little unfair! He's no more a lick player than Wes or Bird. Let's face it, with those cats it was very often about how they combined their lines. Sure, they may have been able to do the motif development thing, as I'm sure Clint can, but it really wasn't their main thing- even though it sometimes sounded like it. There are many times when listening to both Bird or Wes (obviously many others too) where I might have once thought they were totally free wheeling, only to discover the same material crop up again and again.... Ha, I might have even been disappointed that these titans weren't super human freaks after all.

    And then you begin to realise, after many years practice, that, yeah, they certainly were super human freaks after all. I certainly no longer hold it against players if I can start to hear their pet lines, I just hear it as their style. So any way, what do you guys think of Clint? Who would you compare him to? If you prefer other modern Boppers like Birelli, Oberg, Bernstein, etc, then why?
    I've always been super impressed with Clint's playing; he's got it all, taste, time and technique. Now if he can stay out of trouble he should be on top, where he belongs.
    I wouldn't compare his playing to anyone; he's got his own bag, probably from playing with all those Texan dudes like Red Garland, James Clay and others.

    His experience though sounds like Buddy Fite, another bad boy who also played both jazz and country music.

  11. #10

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    Clint Strong is one of the best!!! He deserves major recognition...


    Sent from my iPhone using Tapatalk Pro

  12. #11

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    Quote Originally Posted by sgcim
    I've always been super impressed with Clint's playing; he's got it all, taste, time and technique. Now if he can stay out of trouble he should be on top, where he belongs.
    I wouldn't compare his playing to anyone; he's got his own bag, probably from playing with all those Texan dudes like Red Garland, James Clay and others.

    His experience though sounds like Buddy Fite, another bad boy who also played both jazz and country music.
    Yeah, sounds like he's had a tough life (for those that didn't know he has spent time in prison, like a lot of the mid century greats did...). But people who have had it tough often dig deeper into their soul- you feel it, which is something I don't feel listening to other chop monsters, say, like Andreas Oberg. YMMV....

  13. #12

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    Video opens with "Miss Ann's Tempo," which I was listening to (by Grant Green) on my morning walk. Nice.

    Curious about Clint's picking technique. Will watch the full video later for more on that. He's a helluva player. I didn't know he was a jazz guy first and that the country gigs came later.

  14. #13

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    Man, I am loving that video. It is one thing to hear a person say to do something, but it is another to see them show what they are saying. Gives you inspiration that you might be able to get there (even though most of us probably can't). The tips and insight into how he first started working on his stellar technique are very valuable (at around 46:00).

    I sure appreciate Andy V posting this.

  15. #14

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    He's a strict alternate picker. He brought up the problem of alternate picking the two-octave G major scale that I posted about here, and I worked on it from his angle and pretty soon I was flying all over the fingerboard.

  16. #15

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    I have seen many instructional videos in my day.

    Clint Strong really seems to be trying to give you what you need to succeed at mastering licks. Unlike some I have seen, there seems to be no withholding of pertinent information, and he comes across as so sincere.

    I know he had a long time instructor gig at a local guitar shop. Must have been great to be able to take lessons from him one-on-one.

    Man that guy has some technique! The way he holds the pick, it seems like it could move around a lot on heavy strings. But, he just slices through then like the proverbial "knife through butter." There seems to be no resistance in the strings.

    I wish Troy Grady would get with him.

  17. #16
    Now that I've had a chance to look at more of the video I think the quality of the teaching is actually better than my fleeting first impression. He seems really sincere in trying to help players. He's a monster technician for sure!

  18. #17

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    Clint use 10's strings as I remember.
    Kris

  19. #18
    Here's Clint with the late ace Western Swing steel guitarist Tom Morrell - great album of standards.






  20. #19

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    Quote Originally Posted by kris
    Clint use 10's strings as I remember.
    Kris
    Well, that would help with picking and might help explain his fluid playing.

  21. #20

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    It's good to see a forum smattering appreciation for Clint steadily increasing. I know he's got some great stories about all the different cats he's come up around. He's one helluva player.

    In an interview about playing with Merle, Clint says it was a monumental part of his learning experience...funny story, he says he played a G7flat5 on Rambling Fever and Merle says "what's that, it don't work" Clint says of course it does and goes on to explain why to which Merle says "let me put it another way, it don't work in this band" to which Clint says "he's right" and say's he learned so much by moving into that genre, things you just wouldn't know otherwise.

  22. #21

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    Here's a young Clint soloing on "After You've Gone."




    Bert Ligon transcribed the solo and posted it on his (Bert's) site. Think there are a couple transcriptions of solos played with Merle Haggard (Ida Red, Stingaree) and Stella By Starlight from a guitar clinic.

    USC JAZZ TRANSCRIPTIONS

  23. #22

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    An organ combo in New Orleans used to play this tune a lot.

    Clint's right hand technique stellar but it sure looks odd to me. It's as if he rests the wrist itself (not the edge of the palm) on the guitar above the strings.
    (It may not be touching at all, but at times it looks like it is. Or am I seeing things? Wouldn't be the first time.)



  24. #23

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    Yeah, he rests the wrist. That's not odd Loads of guitarists do that. Those that wear it in chest height, at least.

  25. #24

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    Quote Originally Posted by AndyV
    Here's Clint with the late ace Western Swing steel guitarist Tom Morrell - great album of standards.





    Wow! Fast and clean playing often leaves me underwhelmed, but Clint's lines here are thrilling, and really cool. This shit really is next level, isn't it?

  26. #25

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    Quote Originally Posted by princeplanet
    it's one ugly guitar I gotta say
    That's a Parker Fly Deluxe - it is a SWEET guitar but not your Dad's jazz box! IMO the first TRULY innovative design in electric guitars since the 50s. It's got a graphite neck that intones better than ANY guitar I've ever played. The electronics are chameleon-like: mag pickups with coil tap as well as a piezo in the bridge and the ability to dial in any amount of both. Sweepable mid boost/cut active EQ. Built in trem with locking Spertzle tuners and graphite nut, eliminating the need for a locking nut. I actually sought one of these out and I love a lot of things about it. The tone is not as warm as a passive Gibson, but the USA-made Fly Deluxe is a great axe. And, oh, it weighs only about 6 lbs... I can see why Clint would like that after playing a Lead Weight Custom for all these years. (I sold my LPC cuz it was digging a hole in my shoulder, and the ebony fretboard sounded a bit thin for jazz... it was a great rock axe tho.)

    The neck and the action is really diffferent than anything I've ever played. It takes some getting used to. But they are really nice guitars.

    As for the look - auto body paint gives these a unique finish. They're really pretty IRL.
    Last edited by starjasmine; 04-14-2018 at 09:39 PM.