The Jazz Guitar Chord Dictionary
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  1. #1

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    Just have to give some love to Billy Bean. He seems to be slowly being recognised as the great player he was.
    This guy could burn clean and melodic bop lines with the best of them……and had his own voice.
    If you do some YouTube digging you will find many solos and some transcriptions.
    IMHO the album "The Trio" is a classic and if you haven't heard it then you must.
    I would also recommend reading the book on Billy's life. There are some life lessons in there for us guitarists.

    Ok I'm probably preaching to the converted but…..really…..this guy is gold.

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  3. #2

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    Never understood my Mr. Bean didn't get more attention. His playing is ridiculously clean and flowing. He sounds like the influence for Pat Martino to me.

  4. #3
    Oh and if you're wondering….

    It's a Gretsch 6193 Country Club between the years !951 and 1955.
    These were the years when that model had a solid spruce top and De Armond pickups. Also the body was 3.5" deep.
    All these specs changed after 1955.
    The top became maple, the pups changed to Filtertronics and the depth was decreased.

    There have been many 6193 models since then and you can get a Spruce top now…although not as deep body and of course made in Japan.

    Yes I've tried to find a Bean 50's model and no I can't find one anywhere.

    Although I must say that apart from the Trio recording where I think this guitar sounded fantastic I think it sounded fairly "normal" or at least like any reasonable jazz box on other recordings of Bean.
    Still love to try one!!

  5. #4
    Quote Originally Posted by ecj
    Never understood my Mr. Bean didn't get more attention. His playing is ridiculously clean and flowing. He sounds like the influence for Pat Martino to me.
    The reasons he didn't get much attention were timing (he kind of just missed the whole bop thing or was at the tail end of it and the music was changing to rock'nroll……he was not a guy who could adapt) and personal problems or idiosyncrasies.
    When he moved to LA he became very popular very quickly and was being booked on a lot of recording dates. Unfortunately he would turn a lot of these down because of his sleeping habits. He would stay up until dawn and sleep all day. He would turn down jobs that were scheduled for midday because it was too early for him. This ended any chances of becoming super succesful in the highly competitive LA environment.
    Oh and of corse there was alcohol abuse which turned into alcaholism in later years.
    Anyway, consider reading the book. It's so interesting to read about that world and the 60's New York world.

    I mean we talk about how tough it is to make a living playing jazz these days but even back then in the 60's "The Trio" found it hard to get any gigs. They broke up after a year of very little work……and those guys were connected and so good.
    Last edited by Philco; 02-15-2014 at 08:38 PM.

  6. #5

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    The Trio album is so awesome. I personally love that instrumentation. It's like a bebop version of the Nat Cole Trio (another group that I think is awesome).

  7. #6

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    Quote Originally Posted by Philco
    The reasons he didn't get much attention were timing (he kind of just missed the whole bop thing or was at the tail end of it and the music was changing to rock'nroll……he was not a guy who could adapt) and personal problems or idiosyncrasies.
    When he moved to LA he became very popular very quickly and was being booked on a lot of recording dates. Unfortunately he would turn a lot of these down because of his sleeping habits. He would stay up until dawn and sleep all day. He would turn down jobs that were scheduled for midday because it was too early for him. This ended any chances of becoming super succesful in the highly competitive LA environment.
    Oh and of corse there was alcohol abuse which turned into alcaholism in later years.
    Anyway, consider reading the book. It's so interesting to read about that world and the 60's New York world.

    I mean we talk about how tough it is to make a living playing jazz these days but even back then in the 60's "The Trio" found it hard to get any gigs. They broke up after a year of very little work……and those guys were connected and so good.
    One of their only gigs was at a penthouse party in NY where Norris, Bean and Gaylor had to play at the same time on different floors!

    Here's the transcription for "Motivation".
    Attached Images Attached Images

  8. #7

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    Like someone mentioned in the thread on the Tal Farlow tone, his tone is incredible and very close to the 50s TF tone I dig so much.
    The Trio Rediscovered is constantly playing my ipod since 2 weeks now

  9. #8

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    Love Billy's Beanery. A great tune.

  10. #9

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    I've posted this elsewhere on this forum, but for those who haven't heard it, check out his solo on "Old King Nep," from Bud Shank's 1959 album "Slippery When Wet."

  11. #10

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    I think I have most of his recorded output.
    I foolishly lent some casette tapes of him playing in a club that a friend made to another friend who promptly 'lost them'
    It was taped in the early 80's @ a club w/the recorder in front of his amp--you can't hear the band very well, but the guitar playing is staggering.
    Last edited by wintermoon; 02-17-2014 at 06:03 PM.

  12. #11

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    So, how is Billy doing what he's doing? I've been listening to him a lot after this thread started. His chops and precision are in that super human, Martino category.

    Did these guys both study with Sandole? The approach sounds very similar. Heavily articulated, probably alternate picking outside of the few rakes, etc.?

  13. #12

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    "Did these guys both study with Sandole"

    yes

  14. #13

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    Here's a link to some 80's bootlegs of Billy in Philly - maybe they're the same ones you had?

    http://www.mediafire.com/download/q5...281980s%29.zip

    From these I edited a version of Straight No Chaser and recently uploaded it to youtube - it's got a vibe - I dig that sound of Billy stretching out live and trying out different ideas - loose and creative:



    Thanks for the video link. That was gold because it started with a perfect close-up of Billy's right hand! Does anyone else think that looks like an large pick he's holding? Any info on Billy's preferred pick?

  15. #14
    Quote Originally Posted by 3625
    Here's a link to some 80's bootlegs of Billy in Philly - maybe they're the same ones you had?

    http://www.mediafire.com/download/q5...281980s%29.zip

    From these I edited a version of Straight No Chaser and recently uploaded it to youtube - it's got a vibe - I dig that sound of Billy stretching out live and trying out different ideas - loose and creative:



    Thanks for the video link. That was gold because it started with a perfect close-up of Billy's right hand! Does anyone else think that looks like an large pick he's holding? Any info on Billy's preferred pick?

    Pick was Nick Lucas large OR ……WAIT FOR IT…………….a white Fender Medium!!!!!! Hey 3625 are we onto something or what!

    He didn't like stiff plectrums. He believed that the plectrum must flex when it struck the string. (his words).

    ALSO……he used to rest his hand on the bridge but Sandole made him float above the bridge and practise tremolo picking. This made him incorperate more alternate picking and also made him emphasise his up stroke.
    BTW if you think Sandole was a monster technician well the impression I get is that he wasn't.
    Billy transcribed a lot of Parker….in fact in the book he said (perhaps flippantly) that he knew all of Parkers solos.
    He also transcribed the complete Coltrane solo of Giant Steps and could play it in different keys.

    Sandole also made him place his thumb behind the neck like a classical player.

  16. #15

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    An extended version of that Peter Gunn clip can be found here:



    Bean was also clearly a big Bud Powell fan. So few players have such articulation and deep, driving groove. Jesse van Ruller is one that comes to mind.
    Last edited by PMB; 02-17-2014 at 08:12 PM.

  17. #16
    OMG his timing is magnificent! He is so in the pocket.

    If this was pre 1960 then it's an Epiphone Zephyr Deluxe through a Premier 88N amp with a 12" 8 ohm speaker.
    If it was after 1960 then it was the Gretsch Electro 11 Synchromatic 1953 vintage through a small Ampeg with a 12" speaker….very small with no rev or trem, just vol and tone.
    After 62 it was a Gibson L7 fitted with a CC pup.
    In 1966 Bean purchased a Gibson 125 and fitted a PAF pup right at the end of the fingerboard. He said the original pup (which are about 3/4 " away from the end of the board) got in the way of his pick so he moved it.

  18. #17

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    The Trio and The Trio Rediscovered are excellent albums.

    I am surprised though that nobody has mentioned the four albums he recorded with John Pisano between 1957 and 1959: Take Your Pick, Makin' It, Makin' It Again, and West Coast Sessions. The sound on the last two is not always stellar, they were released about 40 years after being recorded in some kitchen or living room, in fact, they were not intended to be released (Pisano always recorded every session, practice, etc.), but it doesn't matter because the playing and the music are amazing.

    At about the same time (1956 and 1957), Bean played on a couple interesting LPs by Charlie Ventura on which he is abundantly featured.

  19. #18
    Quote Originally Posted by Eddie Lang
    The Trio and The Trio Rediscovered are excellent albums.

    I am surprised though that nobody has mentioned the four albums he recorded with John Pisano between 1957 and 1959: Take Your Pick, Makin' It, Makin' It Again, and West Coast Sessions. The sound on the last two is not always stellar, they were released about 40 years after being recorded in some kitchen or living room, in fact, they were not intended to be released (Pisano always recorded every session, practice, etc.), but it doesn't matter because the playing and the music are amazing.

    At about the same time (1956 and 1957), Bean played on a couple interesting LPs by Charlie Ventura on which he is abundantly featured.
    Yeah I bought 2 and have 2 coming. Stellar playing by both.
    I have to admit I do prefer The Trio albums so far. Great chemistry and guitar sound to die for.

  20. #19

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    What would he be playing on Straight no Chaser? Tone reminds me a lot of Charlie Christian. (some of the licks too hehehe)

  21. #20

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    3625,
    that's got to be the recordings though I remember the guitar being louder as my friend had put his mike right in front of Billy's amp. I wonder where those downloads came from as the only people that had a copy of those cassettes were my friend that taped them and my other friend that said he lost the tapes after I lent them to him...

    where did you find them? I wasn't able to download them unfortunately. any way you can edit them and download the rest to youtube or is it too time consuming?
    these are very important recordings

  22. #21

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    Quote Originally Posted by SamBooka
    What would he be playing on Straight no Chaser? Tone reminds me a lot of Charlie Christian. (some of the licks too hehehe)
    Maybe Philco can say what axe he was using in the 80's if it's in the book - I do know at one point he had an Epi Joe Pass, whether that was in the 90's or 00's I couldn't say.

    Yeah, I dug those Charlie Christian references too - the whole vibe of it being a live bootleg reminded me a bit of those CC recordings live at Minton's.

  23. #22

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    Quote Originally Posted by wintermoon
    3625,
    that's got to be the recordings though I remember the guitar being louder as my friend had put his mike right in front of Billy's amp. I wonder where those downloads came from as the only people that had a copy of those cassettes were my friend that taped them and my other friend that said he lost the tapes after I lent them to him...

    where did you find them? I wasn't able to download them unfortunately. any way you can edit them and download the rest to youtube or is it too time consuming?
    these are very important recordings
    I found the link posted on Billy Bean's facebook page by someone called Felix Lemerle who seems to have gotten them from one of the musicians on the recording called David W Sayen:

    https://m.facebook.com/story.php?sto...d=118755490224

    I'll upload the complete bootlegs to youtube during the week and post it here once it's done. Cheers

  24. #23

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    Hey 3625 - and by the way now that I typed your name and said the numbers aloud in my head, I finally realized its genesis, i.e. iii-VI-ii-V - thanks for posting that Straight No Chase clip. That's the definition of "so killin' man!" right there. I can't believe how modern he sounds...but I'm not really into the modern guitar cats (yet), so that that for what it's worth coming from me. Anyway, he is a killer player.

    Could you point me to which of his albums might best capture the vibe from that clip? I've hear him play before but never as the main soloist - just some short solos between extended horn solos and such.

    I'm currently on an "all Jimmy Raney" bent, but I think if I'm going to expand that I should do it to Billy Bean.

    Just a quick comment regarding picks: my understanding is that although Joe Pass used a "flexible pick", he broke it in half so that it was very small - presumably this made it less flexible. I guess you could experiment - break a medium firm pick in hand and see how flexible that is.

  25. #24
    Quote Originally Posted by 3625
    Maybe Philco can say what axe he was using in the 80's if it's in the book - I do know at one point he had an Epi Joe Pass, whether that was in the 90's or 00's I couldn't say.

    Yeah, I dug those Charlie Christian references too - the whole vibe of it being a live bootleg reminded me a bit of those CC recordings live at Minton's.

    The book stops with the Gibson 125 with the Paf pickup he fitted. That was the guitar he had until his death in 2012.

    When the author of the book went to see him the first time he said Billy went and got his "old Gibson guitar" and tried to play a few things (he couldn't plays at all anymore).

    But who knows what he used on that particular gig….unless someone was there.

    Interestingly he said he didn't care about sound too much. He liked the Gretsch better than the epiphone but said they were both heavy….particularly the Gretcsh.
    He also never stressed or obsessed about technique (probably because he had it!)

  26. #25
    Quote Originally Posted by ecj
    Interesting stuff, I'll have to check out the book.

    I've been pretty happy with the Fender medium thus far. My understanding is that Pass and Benson also preferred medium picks and heavy strings for the "flex". Makes sense to me. I can't really figure out how Pat Martino can play the way he does with a 1.25 pick. He must have a light grip that substitutes for the flexibility of the pick material itself.

    Are there any resources online about Sandole? I'm curious about what he was teaching folks. Not hugely surprised about the fact that he wasn't a speed monster himself. In athletics it's pretty common for highly valued coaches for batting, pitching, etc. to not be incredible players. Sometimes you have to not be naturally good at it to understand how to make mistakes, I think.

    There is a whole chapter that explains Sandole's teaching method….as best it can…including quotes from other students….also including hand written notes from him.
    The book is VERY worth the money. Written by a guitar player…….so a lot of understanding and empathy.