January 28, 2013

Lage Lund chord voicing.


Here are some of the chord voicings I hear Lage Lund play in the intro. I like these colors he uses. It's based on Ab maj7 #11. You can play quartal harmony or as combine it with thirds. From the bottom up: third, third, fourth interval as is the case in the first chord and move that up the scale.   I didn't get them all but I think it's pretty close. 




January 26, 2013

Variax fun. Acoustic, sitar, banjo






Some more Variax/ Axe II and Jam Origin.
I used the acoustic guitar, banjo, sitar, dobro slide through an acoustic patch into the mac. Added some delay or reverb in garageband.
Octofuzz into Fendertwin with octave from the mighty AXefx.

January 25, 2013

Brazilian like -Variax acoustic

This is me trying out my new Variax JTV-69s with Garageband. The strings were played using Jam Origin. Guitar to midi.



Line6 Variax JTV69s

Interview: HBC's Scott Henderson and Jeff Berlin (PGuitar)



Very nice interview with Scott and Jeff Berlin about the HBC trio from premier Guitar.


Scott, your solo on that track is some of your most exciting playing ever. The clean tone sounds like you’re using a jazz box, which you don’t often employ. What guitar did you use for that?
Henderson:
 I wanted to do it as a traditional jazz-guitar thing, because I don’t often get to do that. I don’t own a hollowbody— when I recorded Reality Check, Ibanez loaned me a George Benson model. I didn’t rent one this time, I used my Line 6 Variax 700. I ran that into a Suhr Badger, which warmed it up quite a bit. I sent the track to a couple of my friends who actually play jazz boxes, and they gave me the thumbs up.

HBC in Bangkok, Thailand. Henderson routes his Suhr guitar through a signature Suhr head driving Marshall 4x12s, while Berlin plays his Dean 4-string through two Ampegs and an unidentified combo.
Scott, you’re also known for your legato technique, as demonstrated on the new “Stratus” solo. Early in your career, you used humbuckers. Now that you’re using single-coils, is it harder to play those types of passages?

Henderson:
 Yeah, physically harder. My guitars are set up now more for tone than for speed. The action is a little bit higher now than it used to be, because I want my guitars to ring really clear. Some people like my tone back then. It might have been a little smoother because I was using those double-screw humbuckers, which make the tone creamy and milky—but there’s no rock ’n’ roll whatsoever in that sound. They also have no bass whatsoever. They’re very small sounding. When I listen to my tone from the old days, it sounds very thin, whereas now my tone sounds a little bit more rock, but it’s way fatter and takes up more space. I’m also using .011s now instead of .010s, tuned down to Eb, and they’re a little bit harder to bend than .010s in E.

Henderson: I can’t even imagine Jeff playing in Van Halen. That gig calls for a 100-percent-support bass player, and I just don’t think that’s a good fit. As far as just playing on a pop or a rock gig, we all have our moments when we wish we made more money but nobody wants to play music that they hate. Not saying that Jeff hates Van Halen—because we all love Van Halen. I think Van Halen’s a great guitar player and I always have really liked his playing. But I couldn’t play that music all night and be myself, and neither could Jeff. I think there are very few pop gigs outside of maybe Steely Dan or Beyonce where I would enjoy myself. Anybody else, I feel like I’d have to dumb my stuff down. To be on a pop gig that you don’t like, you have to be an actor, and I’ve never been much of an actor. But Steely Dan or Beyonce—if they call, I’m there.

Read more: 

Interview: HBC's Scott Henderson and Jeff Berlin

January 23, 2013

The amazing Anthony Wilson: Projects 2013-2014



Each and every project a treat. Gorgeous tone and licks. Wonderful musicians on each and every project.
Like most people I heard of Anthony Wilson through his work with Diana Krall. What a find! A real treasure trove of wonderful compositions, arrangements, sound and overall great playing.

A few dates for 2013:


January 29 2013 AW with Sara Gazarek, Catalina Bar and Grill (click for tickets), Hollywood, CA. 8 PM.
February 8 2012 AW joins trumpeter Gilbert Castellanos for his “Some of my friends are guitar players” series.  Westgate Hotel, San Diego, CA. 8 to 11 PM.
February 21 2013 Jesse Harris with Anthony Wilson and Julian Lage,Rockwood Music Hall (click for tickets), NYC. 8:15PM.
February 22-23 2013 AW w/ Alan Ferber’s Expanded Ensemble.  Jazz Gallery, NYC.
February 25 2013 AW & pianist Vitor Gonçalves at Zinc Bar, NYC. 9:30 PM. More details TBA soon.
April 10-11 2013 LA, recording w/ Richard Galliano, for upcoming Resonance Records release.
May 23 – June 2 2013 Seasons Guitar Quartet shows in La Jolla, Los Angeles, Santa Cruz, Berkeley, and San Francisco, California, with AW, Julian Lage,Chico Pinheiro, & Larry Koonse.  Venues TBA soon!

January 21, 2013

Tim Lerch-The Art Of Harmonics Master Class



This is a trailer for my latest Master Class at www.jazzguitarsociety.com the subject is Lenny Breau inspired Harmonics in a solo guitar context. 
Just friends for starters. A little snippet to show how to use the harmonics in solo jazz guitar.
A PDF in standard notation and Tabs is included.

The entire 35 minute Masterclass can be purchased from www.jazzguitarsociety.com.



Tim Miller-Legato Technique Lesson




Fundamentals:
Basics require slow practice.

#1 Keep your fingers close to the fretboard.
#2 Have a quick light motion.
#3 Focus on the length of the note.




Tim Miller style lesson one & two
http://www.internetguitarlessons.tv with guitarist Tim Miller. An all new Guitar Instruction website featuring streaming Guitar Lessons in full HD video with studio quality audio.

January 19, 2013

Miles Davis/ John Scofield What it is (1983) + TABS


The Miles Davis band with John Scofield is epic. I love that era of Miles, Scofield's playing on Decoy sounded revolutionary to me. Miles introduced Sco to the rest of the world. Together they ruled, giving funk a layer of very sophisticated jazz magic. Also Scofield's "Still warm" and "Blue Matter" changed the way a lot of people viewed jazz guitar.

Miles Davis/ John Scofield: What it is.

January 18, 2013

All purpose beginning- Julian Lage Rhythm transcription


Julian Lage transcription
All purpose beginning.




I've been transcribing rhythms for some time now and find it to be real beneficial to my playing. Here's my transcription of the first part of 'All purpose beginning' by the amazing Julian Lage.  A nice group piece with interesting rhythms that go in unison or support each other. The last bars feel like the beginning of a classical fugue.



January 16, 2013

Allen Hinds & Gino Vannelli Live



Live @ The Orange lounge in Toronto, Canada May 2006
Gino Vanelli vocals
Allen Hinds guitar
Sandin Wilson bass
Randy Porter keys
Reinhardt Melz drums



January 15, 2013

Sean Halley (Line6) New pedalboard demo - January 2013



'Just finished wiring up the new mondo pedalboard, and I wanted to capture a snapshot of some of the drive sounds that are quickly available. I've been soldering all day, so I'm still in the moose pajamas. 

Pedal order - guitar - musicomlab switcher - Loop 1...tchula, Loop 2...M5, Loop 3....Octfuzz2 and RC Booster, Loop 4, SD9 - to amp input. Amp FX send - volume pedal - Loop 5...Giggity, Loop 6, Lex, Loop 8...Superego (with M5 switched in to its fx loop) - M9 - amp fx return.

Custom Bogner Duende combo - 22 watt, extra switching options.' (Sean)

January 14, 2013

John Scofield's TECHNO with tabs


Still Warm album by John Scofield was released Apr 11, 1991 on the Gramavision label. One of John Scofield's finest mid-1980s outings as a leader, STILL WARM finds the revered jazz guitarist settling into a set of funk-tinged fusion. 
Still Warm music CDs The tight yet adventurous rhythm section of bassist Darryl Jones and drummer Omar Hakim allows Scofield to unfurl his impressively agile six-string lines, which can stray into rock and blues territory. Keyboardist Don Grolnick adds unexpected, sometimes downright strange textures to the compositions, reining in his quirky flourishes to wonderful effect on the delicately beautiful title track. 
Audio Mixer: Alec Head. Recording information: Media Sound, New York, NY (06/1985). Photographer: Michael Tighe. Personnel includes: John Scofield (guitar); Don Grolnick (keyboards); Darryl Jones (bass); Omar Hakim (drums). Personnel: John Scofield (guitar, electric guitar); Don Grolnick (keyboards); Darryl Jones (electric bass); Omar Hakim (drums, percussion, electronic percussion).


January 13, 2013

John Scofield's own Uberjam Deux gear pics!!


I'm very fortunate to exchange mail with the great John Scofield. I really love his music and playing very much for many years now. I think it's absolutely great that he takes the time write so I can  share with y'all. Thanks John.
On Jan 8, 2013, at 8:53 AM, Jan Bertil Pool ; wrote:
Hi John,

Best wishes for 2013.  Thank you very much for your input on my Poolguitarblog.

Hope the recording session for Uberjam Deux went well!?
Heard the New Year's eve concert with some of the new songs. Wow.

Did you have time to check on those new pedals?


Jan Bertil Pool




Op 8 jan. 2013, om 15:07 heeft John Scofield het volgende geschreven:

Hi Jan
I've got new pedal board at home ...be there end of week ..send me email to remind me to send you a pic..Thanks!
JS

Sent from my iPhone

Hi John,
Did you manage to get the picture?

BTW Transcribing Techno right now. Will post it soon.

Greetings,

Jan Bertil


John Scofield's own gear pics

Uber pedals
SIGNAL PATH

INTERFACE (input buffer), Vertex True Bypass Loop (Digitech Whammy XP100), T.C. Electronic Polytune Mini, Vertex Axis Wah, Rockett Blue Note, Vertex Modified GE-7 Equalizer, INTERFACE (break-out insert), Vertex Modified CE-3 Chorus, Neunaber Technologies Mono WET Reverb, Vertex True Bypass Loop (Boomerang Rang Plus), INTERFACE (single output buffer/splitter, splitting MONO signal to two amplifiers)

January 10, 2013

Leonardo Amuedo & Antonio Adolfo - A Ostra e O Vento




Para acabar 2012 com esta perola do Chico Buarque "A Ostra e o Vento" do CD do maestro Antonio Adolfo no qual tive a honra de participar.O novo CD do Antonio esta em processo de mixagem e também tive a sorte de gravar nele...."o sorte".
FELIZ ANO PARA TODOS!!!!!


"A Ostra e O Vento" (Chico Buarque) - do CD Antonio Adolfo "Chora Baião" (2011) - Antonio Adolfo: Piano; Carol Saboya: vocals; Leo Amuedo: Guitar; Jorge Helder: Bass; Rafael Barata: Drums; Marcos Suzano: percussion

January 8, 2013

Improve your rhythm


Every style of music has at its root rhythm and if the rhythm feels shaky the whole tune feels ....well, not that great. One great tool to improve your rhythm playing is to transcribe rhythms. You can take any song or solo and just transcribe the rhythm part. Put down the guitar and get a pencil and paper instead. Train your brain to recognize the beat and all the subdivision that are going on. Transcribing rhythm is making you think and notate graphically what you hear. Having a clear visual understanding helps you to understand and play rhythms better. This mathematical layer of understanding is what Wayne Krantz calls ' the grid'.  Also Pat Metheny talks about this in an interview. Pat can feel the smallest subdivision in the pit of his stomach. 16th notes for pop songs and 16th note triplets for jazz. You’ll be amazed at what you can discover if you don’t have to think about chords, notes or scales. 


Start with simple tunes such as Happy Birthday,Frere Jaques, Skip to my lou etc. Transcribe those irritating commercials and learn from them.  If you have no problems with that you can pick harder tunes of course. Some Chick Corea perhaps?


January 7, 2013

Scott Henderson & Line6 Variax guitar


Variax—Just What the Tone Doctor Ordered 
HBC’s self-titled debut album features a wide range of guitar sounds, from the high-gain blues vibe on “Wayward Son of Devil Boy” to the funky clean tones on “Actual Proof.” When recording the Wayne Shorter classic “Footprints,” Henderson wanted to approach the track as a traditional jazz tune—problem is, he doesn’t own a traditional jazz guitar.
“Instead of borrowing an archtop—which I’ve never really enjoyed playing—I decided to use my Variax,” he relates. “The Jazzbox model provided great tone, and the guitar was very easy to play. That tone made me play much differently than usual, so the song sounds completely different from the others, and I got to be a traditional jazz guitarist for one tune. I received some nice compliments from my friends who play hollowbody jazz guitars—they were quite surprised it was a Variax.”
Scott:
'It's a Line 6 Variax - the jazz box model at the neck pickup position, through an 18 watt Badger.'

Scott Henderson loves his Korg PX5D



January 6, 2013

Robben Ford: Soulgrass meets Blues - PART I


Toss Panos - Bill Evans - Robben Ford - Etienne Mbappe - Ryan Cavanaugh: 
Soulgrass meets Blues, Miles & Beyond - PART I - 
Estival Jazz Lugano


January 4, 2013

Scofield Uberjamband LIVE @NPR



Scofield's 2002 album Überjam merged his cutting guitar with raucous electronic-infused rhythms; Berklee welcomed him back to perform that music. The Überjam quartet plays as part of Boston's citywide First Night celebration, where its leader announced that a second "Über" album is on the way.
Set List
All compositions by John Scofield.
  • "Thikithali"
  • "Snap Crackle Pop"
  • "Ideofunk"
  • "Jungle Fiction"
  • "Boogie Stupid"
  • "Cracked Ice"
  • "Dubdub"
  • "Bunga"
  • "I Brake 4 Monster Booty"
Personnel
  • John Scofield, guitar
  • Avi Bortnick, rhythm guitar/sampling
  • Andy Hess, bass
  • Louis Cato, drums

Etude #3 by Julian Lage 1 part transcription Tabs


I am very happy to share with you the third installment in my Etude series! This piece, nicknamed "Banksy" was so far the most challenging etude to play. The idea behind this is that I wanted an etude with a constant quarter note pulse in the chords while the bass played around it, hinting at a 5:4 kind of groove. What makes this etude especially tricky is trying to keep the pulse feel relaxed yet propulsive while being adventurous rhythmically in the bass. Also, the sections that occur in and around first position were especially straining on the hands so please take it slow and stop if you feel any pain or discomfort! It's not worth hurting yourself. This is advice I need to take myself. One final note: I am hoping to practice this piece extremely slow, starting with just the quarter note pulse, and then gradually adding in the bass. Hopefully this will make it more playable and feel better at faster tempos. Thank you and hope you enjoy! julian

Big thank you to Nathan Lefcowitz for the use of his beautiful Collings D-1A Varnish.


Transcription by JB with the help of Robbert Houtkamp

The Music Notation App You've Been Waiting For

January 3, 2013

Wes Montgomery Tribute - Peter Bernstein



ROAD SONG

IridiumLive! 1.2.2013
Keystone Korner Nights @ Iridium
Salute to Wes Montgomery

Jimmy Cobb - Drums
Harold Mabern - Piano
Ray Drummond - Bass
Peter Bernstein - Guitar
Eric Alexander - Sax

The world's new home of guitar, forever the home of Les Paul - The Iridium - Webcasting live from Times Square several nights per week! With select performances available for sale worldwide via our new audiophile record label, IridiumLive! 2012 releases include DONNA JEAN GODCHAUX, GREGG ROLIE, ARLEN ROTH, CORKY LAING & THE MEMORY THIEVES and more! For schedule and exclusive live content, visit www.IridiumLive.com

Concert Produced by Todd Barkan
Webcast Produced and Mixed live by Doug Yoel

January 2, 2013

Better practice time: Stop!