February 28, 2013

Epic Larry Carlton - Emotions wound us so (live Last Nite album)



Sheer beauty. One of the best guitar tracks out there. Emotion delivered with such acute precision it hurts.

Larry Carlton Last nite


"This live set is one of Larry Carlton's best recordings because the guitarist stretches himself. Joined by keyboardist Terry Trotter, bassist Abraham Laboriel, drummer John Robinson and percussionist Alex Acuna (and an occasional three-piece horn section), Carlton plays five- to eight-minute versions of four originals (including "The B.P. Blues"), plus Miles Davis's "So What" and "All Blues." Recorded at the Baked Potato in North Hollywood in California, Carlton is heard throughout at his very best."

February 27, 2013

Line 6 Variax message


Poolguitar.blogspotPoolguitar.blogspot @Poolguitarblog26 Feb
@Line6 Is there going to be an update for the Variax guitars in the near future. It was posted on your site under News but is gone now!? HD?

Line 6Line 6
@Line6
@Poolguitarblog Stay tuned! We'll have news for you soon.
06:37 PM - 26 Feb 13

February 24, 2013

Marc Guillermont one badass player!!!!






Marc Guillermont
Guitar - Bass - Keys/Programming
Composer/Arranger

Recorded / Played Live with :

Gary Husband, Randy Brecker, Etienne Mbappe, 
Hadrien Feraud, Nicolas Viccaro, Bill Evans,
John Mc Laughlin, Ranjit Barot, Dominique Di Piazza, 
Louis Winsberg, Nigel Hitchcock, Coen Molenaar, Frans Vollink,
Sebastiaan Cornelissen, Benoit Widemann, Gilles Coquard,
Miles Bould, Robert Mitchell, Scott Firth,
Yolanda Charles, Jean Paul Ceccarelli, Jean Marc Jafet...

SixString, the Social Network App for Guitarists! Demo by Pete Thorn

February 23, 2013

Tom Quayle & Jam Origin guitar to midi!



Tom 's also convinced of the power of Jam Origin!

Here are some clips I did.
Clip 1
clip 2
Clip 3 in combination with Line6 Variax

John Scofield Trio - Over Big Top - Telecaster feb 2013




John Scofield Trio
Over Big Top

John Scofield -- guitar
Scott Colley -- bass
Bill Stewart -- drums

Théâtre Lionel-Groulx, Sainte-Thérèse
7.2.2013

Le Festival de Jazz en tournée (Québec)
6.2.2013 - 17.2.2013
montrealjazzfest.com

February 22, 2013

Follow Me-Pat Metheny- Tribute (cover) BBT International Jam



Amazing performance and production made by my good friend Bobby Pars of Bobby's Backing tracks. Solo by my friend from France, the amazing Sylvain Courtney!!

Sco-me-la-me-dingdong DEMO



A tune I wrote as a tribute to the amazing John Scofield.
John Scofield & Robben Ford
I sent the tune to John as a thank you for all his contributions to my blog and contact and he replied in the nicest way:

Thanks so much Jan
I'm honored!
The tunes is smokin'
Scomalamadingdong!!!
JS

February 20, 2013

Altered scale LEGATO lines

I like the new generation of guitar players such as Tom Quayle and Martin Miller who under the influence of a.o. Allan Holdsworth, John Scofield, Frank Gambale and Pat Metheny and rock players like Greg Howe and Richie Kotzen created a fusion style of their own.  The facility and ease with which they play very long flowing lines at high tempos requires a lot of practice. Fortunately they use a lot of jazz standards to showcase their talent. Especially Tom Quayle combines his passion for jazz with  a modern legato based technique.   Here are a few jazzy lines I  wrote myself using the A7 altered scale going to a Dmaj7. Play every note on the same string with a hammer-on going up or a pull-off going down.



Larry Carlton & Robben Ford UNPLUGGED.






The New Morning club in Paris presents the incredible – and long awaited – pairing of two guitar giants for their first Unplugged show. Imagine: Larry Carlton and Special Guest Robben Ford, two legendary guitarists… one stage unplugged… a guitar lover’s dream! This unique pairing of two all-time great guitar legends delivers an unforgettable evening of dueling guitar solos and an uncompromising evening of The Blues performed the way it was meant to be.First ever acoustic performance recorded with Robben Ford!
Nineteen-time GRAMMY NOMINEE, four-time GRAMMY WINNER and all-time guitar great, Larry Carlton established himself from his first recording, A Little Help From My Friends. His studio credits include musicians and groups like Steely Dan, Joni Mitchell, Michael Jackson, Sammy Davis Jr., Herb Alpert, Quincy Jones, Bobby Bland, Dolly Parton, Linda Ronstadt and literally dozens of others. He went on to perform with the Crusaders and then with the multi platinum jazz super group Fourplay. With more than 30 albums to his credit and having performed on over 100 albums that have gone Gold or Platinum, Larry Carlton has set a standard for artistry that spans three decades.
Joining forces with Larry in Paris is Robben Ford who at 18 he was playing with the likes of Charlie Musselwhite, Jimmy Witherspoon, the L.A. Express with Tom Scott, George Harrison, and Joni Mitchell. He was a founding member of the Yellowjackets, then went on to tour with Miles Davis, Sadao Watanabe, and Little Feat. In 1992 he returned to his roots: the blues – a genre he masters in most exquisite grand style.
Track List
1. NM Blues 08
2. That Road
3. Monty
4. Cold Gold
5. Hand In Hand With The Blues
6. Amen AC
7. I Put A Spell On You
8. Rio Samba

JONATHAN KREISBERG --- "ONE" solo debut CD



Jonathan Kreisberg's first cd of all solo guitar performances. ONE is available now at http://www.jonathankreisberg.com

February 17, 2013

Nirvana - Come As You Are, Jazz Version by The Jazzifiers



LIVE @ Jazz Cafe Oradea

Daniel Zamfir - vocals
Marius Pop - guitar

www.chitarist.ro

Mixing and mastering by Marius Pop
Video by Laurentiu Balaban
http://oradeanul.com/

February 16, 2013

Larry Carlton Trio smokin' live performance




The great Larry Carlton with a killer rhythm section consisting of his son Travis Carlton on bass and Gene Coye on drums

February 15, 2013

TrueFire's Bebop DOJO with Sheryl Bailey.

BEBOP DOJO.


Sheryl Bailey
Guitar sherpa

"Welcome to the Bebop Dojo - I'm your Sensei, Sheryl Bailey. This classroom is my own "College of Bailey" - lessons based on over 30 years of playing the guitar, and 20 years of teaching it!
I've been a faculty member at Berklee College of Music since 2000, published my own method book through Mel Bay, taught countless workshops, and have traveled literally all over the world playing as a leader of my own various projects and as a side-person with names such as Richard Bona, George Garzone, David Krakauer, Bill O'Connell, Steve Slagle, David Krakauer, Howard Alden, John Pisano, Jack Wilkins, Irene Cara and more.
The Dojo is a place where I can share my unique perspective on developing a deeper understanding of the jazz language and help you organize your fretboard to master the challenges that this music we love brings to us. The classes will evolve and expand as you interact with me here, and I look forward to discovering just as much as you!" Sheryl Bailey




Breaking up concepts into smaller bits.

Sheryl Bailey has succeeded in creating a coherent program for learning how to play Bebop guitar. In a number of instructive and entertaining videos this TrueFire online guitar course presents the language of Bebop in a well organized manner. Almost every video lesson comes with a pdf or jamtrack so can follow what’s being presented and try it out for yourself.

Feedback helps to create a better learning environment. You can comment on every video lesson and start an online discussion . You can also upload a video or audio file too and Sheryl wil respond to it personally!  The interactivity is what makes it all work because you're not just watching videos and left by yourself to figure it all out.  Sheryl is there to help YOU, personally. 


Rhythm

It don’t mean a thing if it ain’t got that swing!.
The essence of jazz is the quarternote pulse. It’s the heartbeat.
If you can play ‘in the pocket’ with a metronome you’ll do great on the bandstand. Think of your metronome as your favorite drummer and not as a mechanical device. Sheryl sets the metronome on count 2 and 4. Really get engaged with hat click. Make it your main habit. 
More lessons on learning how to play all the subdivisions starting on whole notes up to 16th notes and
learning about syncopation: without it jazz playing sucks. There is also a class where you focus on learning how to feel and play on the upbeats. Sheryl will help you play them until they are internalized and not intellectualized.


II V I’s

The II V I progression is one of the most important harmonic pattern to learn and utilize when approaching jazz harmony. This channel is a place to present concepts for improvising, analysis, chord substitutions and mastering this basic and essential unit of the jazz harmonic language. One concept that is explained in several ways is the way Charlie Parker plays over a II-V-I. Play the minor 7 arpeggio and move that up a minor third over the V chord to create tension. e.g. In Dm7-G7-Cmaj you play Dm arpeggio and move it up to Fm7 when the band plays G7, You can play Am7arpeggio over the Cmaj7 chord.  But there are many more tricks of the trade.
Again, guiding you through a basic idea and then utilizing them in various ways and positions gets you playing creatively in no time. Need any pointers? Just ask Sheryl!


“Train your mind, it’s what controls your hands” Sheryl Bailey

The Microcosmic Bebop Line and the family of four.

One of the topics Sheryl is famous for is her clear harmonic formula for playing jazz. It's one of the cornerstones of her pedagogy. The dominant-7 Bebop scale combined with 4 arpeggio's will get you to understand how to play through the changes.  The scale and the arpeggio's are interrelated and can be used in all II-V(-I) situations. They can also be used with tri-tone substitutions. 


More...

Lessons on chords (40 lessons!) , melodies, ear training, technique and around 30 interviews with musicians from the NY scene on various topics which I found to be very cool. After hours play along section.


Conclusion

In the past month I was Sheryl's pupil in the Bebop Dojo. She contacted me several times and responded quickly to my questions. Everything I asked her regarding my playing or jazz guitar playing in general was answered professionally. It was almost as if I had taken lessons with her in person.
Monthly contribution is $99 which is quite a lot of money for some but you get to take lessons with one of the best teachers in this field and download an enormous amount of lesson material for later reference. Not everything comes with TABS! While you are a member you get 25% discount on all other lesson materials. 


 "Guitar Sherpa students have 24-7 access to all of the video lessons and learning materials that their instructor has prepared in the classroom. Plus, students also have unlimited access to the thousands of video guitar lessons with tab, notation and rhythm tracks on TrueFire TV"



February 13, 2013

New Robben Ford Cd in the mail!

Sounds great!

Gear Trends for the next years.

In the last few years we have seen the comeback of guitarpedals and pedalboards. In the eighties and nineties guitarplayers were fascinated by rackmount gear. Pedalboards are conveniant because you can change individual pedals more easily and buy something new without costing an arm and a leg. Multieffects units in the past gave you a whe lot of effects but very often of a lesser qualility. Programming a pain and not always successful.  We put up with that for a while because we the had every effect possible in 1 unit. Some, like the guys  from the LA guitar scene got a 19" rack effect for every effect they wanted resulting in HUGE racks.

With pedalboards no firmly reestablished ( even Steve Lukather came back) we see the trend of buying the socalled boutique quality pedals. Ordinary pedals are not good enough anymore. They have to be at least hardwire bypass connected with highquality cables. Players started adding more and more effects. Because the signal paths became too long players started adding buffers to fight signal degradation caused by connecting multiple pedals with multiple cables of varying quality. The Next step some of us took or are contemplating is the use of onboard switching systems. Palmer, Carl Martin, CAE and many more have created these pedal switching devises with multiple loops. Now you can have the same flexibility  of a midi switching rack system combined witch analog pedals.
All analog pedals? No. Because the a lot of modern players want to have every conceivable effect there is they run into real estate problems. Their pedalboards have become so redicously large and the wiring so complex that it has become unpractical. Mini pedals appeared half the size of a normal pedal. Line 6 M5 has a lot of different effects inside but you can use just 1 at a time. No need for a seperate chorus, flanger, rotary etc,. Small footprint but a lot of effects. Eventide's stomp boxes  delivered several studio quality effects in a single box. So do the new Strymon Mobius and Timeline. Expensive pedals but you get an enormous amount of bang for your buck, euro or Yen.


The next step that is now already in a second stage of development is the abity to upgrade the software in your pedal to a newer version. This was already possible with certain rack and studio  gear but TC electronics has made this popular for their Toneprint stomp boxes . You can even upgrade via your smartphone!  Since many guitarists wanted to create their own sound for their pedals TC has released the software they use to create these Toneprints  to everybody. So now you can create your own stompbox sounds. The next step I think would be to have an empty hardware stompbox with a high quality chip inside so you can decide what the pedal is going to sound like tonight. Mayby today it will be a chorus and tomorrow a heavy distortion or an autowah. iPad/iPhone/iWatch (?)  connectivity will also be a trend. Already we see this in Eventide's new H9 pedal.
We want the ease and digital functionality combined with the highest sound and upgradeability. We need forums to exchange or sell our own creations.

Factal audio, Kemper, Line 6 and newcomer in this field DVMark create all in 1 solutions but are also very flexible enough to be used in various situations in different setups, with or without a real amp or pedals. You could use just the effects and use your own amp or pedal or use the unit as a standalone do-it-all direct box. Especially Fractal Audio is an amazing company. They were the first to create this all in one box at such a high level of performance using nothing but the best components available. They constantly upgrade the software with not just new models but also improved versions of previous amps and effects models. Kemper an Fractal both offer the possibility to create modeled versions of your own amp. Sharing your own presets via forums etc. is easy. Fractals software editor works on the iPad too.

Guitar modeling will improve and increase the next two years. The number one in this field of operation is off course Line 6 with their succesful Variax series. The second generation was created in cooperation with luthier James Tyler. The sound quality is very good and here too upgradeability is the key. Consumers have so gotten used to this feature with all the apps on their smartphones ( thanks to Apple's Appstore) that manufacturers will loose marketshare if they don't.
Roland is of course also working in this field. First with their succesful VG (floor)units and now with the Vg guitars. PRS guitars latest model the P22 is an electric guitar that can sound like an acoustic without the harsh sounds of piezo pickups. The Graphtech ghost system can do the same thing and be fitted into your own guitar. Reading through the forums most players agree the Line 6 has the best sounds but the Roland offers more flexibility.


In the area of guitar synthesizers the market is pretty much dominated by Roland. With their GK pick-up and their latest GR-55 they rule. New development will come from companies like Jam Origin. You don't need to buy extra gear. You install their software and can play synth sound directly using your own guitar. Mono phonic and polyphonic! Although the software is not 100% perfect it sure looks very promising. More companies are working on transforming sound directly into midi so you can play directly into your iPad, iPhone etc. using the notation software or the synths.

Amps. Traditional tube and transistor amps will always (?) be around. We need them love them! With the increase of modeling gear we need speaker systems that can cope with that. Speaker-systems that can sound very linear but should also be flexible with different acoustic settings and speaker modeling. Don't forget the USB for upgrades!

Of corse you don't have to follow trends. Most players will mix and match.  However a lot of digital gear already sounds as good as their analog original.  With every new generation of chips there will be new and more possibilities only limited by the imagination of the manufacturer and their willingness to produce the next generation. Guitar amps on pedals are ok and fun but not quite there yet limited only by processing power and commitment. The more horsepower there is under the hood the  better old pedals can be modeled. Of course we don't just have to model. Create!

February 12, 2013

Scott Henderson & Jazz Guitar Society!


Really great interview with Scott Henderson by Doug Perkins. Doug and Scott were room mates once and Doug knows a lot from Scott from the early days. Also in the interview there's talk about the HBC album and the latest Tribal Tech Album X, composing and the late great Joe Zawinul.
   DP: “Footprints” is probably on of the most commonly called tunes at a jazz jam I can think of, but when Dennis played the opening groove, it was totally fresh. You approach the changes with some really great outside concepts – I know this is a huge question, but are there any devices that you use for re-harmonizing changes in your soloing that you could share?
SH: Well, honestly, I’d have to say that most of the time I don’t know what I’m doing. That sounds like a cop-out answer, but I just grab voicings that I hear, and hopefully they’ll sound good where I choose to play them. Sometimes just the nature of the voicings sound good, even if I play them where they’re not supposed to be. If you move them in parallel or chromatically it can sound great – I just take a lot of liberties and try stuff – I’m not one of these guys that plays a chord substitution because I know it theoretically works. I just don’t have enough training or knowledge about harmony to be able to do that, I’m just led by my ear and I grab these voicings that hopefully work.
Sometimes I’ll play the top note of what you would expect to hear with something you don’t expect to hear under it, so that the melody is still there so everything works, except there’s this color below it that doesn’t belong there – sometimes it works and sometimes it doesn’t. Honestly, I’d have to say that in my case it doesn’t work half the time. (laughs) On the records, when it doesn’t work I’m able to punch in and do it again with something that does work, whereas live I just try to stay positive when I do something that sounds awful.
DP: Yeah, I have found that the top note is like the important thing and then underneath it you can do almost anything you want.
SH: Sure, especially if there’s no keyboard player, you can get away with murder – I get pleasantly surprised when I pull off something that sounds great, even if I had no idea what I was doing. I remember one time hearing Joe Zawinul re-harmonizing a jazz standard and it was just otherworldly. It was blowing me away so I asked him “what are those chords you’re using?” and he said, “You know better than to ask me something like that!” (both laugh)…because it was really obvious that he didn’t know either, you know what I mean? He’s wasn’t coming from “theory” – he was just hearing colors in his head and playing them – in fact, I remember him saying one time “I don’t know what those chords are, but they’re some BAD ASS CHORDS!” (both laughing).
So it’s definitely more art than science, and I’m sure most of the musicians that I listen to would agree. I think good players are able to get into a zone where the left-brain is completely shut off. We can transcribe and learn afterwards, but while it’s going down, theory and analytical stuff is out of the picture, at least consciously.
Daniel Gilbert, Doug Perkins & Scott Henderson


Read More:

Jon Herington; How to solo over a Steely Dan Tune

Jon Herington interview







part 2,3,4 HERE

February 10, 2013

Red Baron



I recorded this in Garageband using my Variax through the AXE II and Jam Origin guitar to midi software.

I love this tune and recently saw a video by the Billy Cobham/ George Duke band with Alphonso Johnson and John Scofield. I had to play it.

February 9, 2013

Tim Lerch's alternative to the CAGED system

 I feel that the CAGED system is flawed and incomplete and ultimately causes more confusion than it should. So I thought rather than simply complain about it, I should propose a better system. 
So here goes. I call it T.I.M. Triadic Integration Method. Its a simple fretboard organization system similar to CAGED but with out the shortcomings.
It allows the player to see the fingerboard completely via 2 sonic structures and 6 major triad fingering shapes.
The Sonic Structures are 1351 and 1513. Each Sonic Structure has three fingering shapes, one on each of the 3 sets of four adjacent strings. The only reason there are six shapes rather than two is the tuning of the B string. Once we can adjust for the B strings tuning and see the fingerboard in light of it, the entire fingerboard opens up. The Shapes come in pairs and pivot on a single root note, in other words the 1351 shape lives adjacent to the 1513 shape and both shapes share a common root. The 1351 shapes live on the nut side (left) of the root and the 1513 shapes live on the bridge (right) side of the root. So if we look at the 6th, 5th and 4th strings as root locations and see each root as common to two Sonic Sructures we have six shapes that cover the board with no dark spots.
So what are these 1351 shapes? To most players the 1351 shapes will be better known as the lowest 4 notes of the Cowboy G, C and F chords. The open position G,C and F chords all have the same structure! 1351.
The 1513 Structures are the lowest 4 notes of the common E, A and D chords which also all have the same structure.
The big difference with The T.I.M. system is that the structures only have 4 notes each on adjacent strings. So rather than call them by the shape names of the arbitrary open string chords (G,C,F,E,A,D) I call them by there actual structural quality. 1351 or 1513 plus the string that the root lives on.
Once we realize that these two Sonic Structures give us a workable view of the fingerboard that is complete and leaves no dark areas the whole thing opens up both harmonically and melodically. The Sonic Structures themselves are integrated with each other and flow into each other up and down the fingerboard as well as across the fingerboard. I realize that this written description may be a bit convoluted since we guitarists tend to be visual creatures so I will do some expanded explanations on the T.I.M. system and post it on my website for those who want to go into it more deeply.





You might have noticed that because the Sonic Structures are only 4 note groupings, there are a few places on the graphic where there are notes in the chord above or below the root that have been left out. This is basically for the sake of clarity, it make it a bit easier to see the relationships. But have no fear we can fill the picture in and that is where inversions of each of the main triads integrate the entire fingerboard. The inversions actually can still be described as one or the other of the 2 Sonic Structures we just have to see the shape without the benefit of having the root as the lowest note. There is also an interesting feature to this system, if you imagine that the high set shapes slide around the back of the neck and come out onto the low side the Sonic Structure switches from one to the other and continues from there. Crazy but true.

Scott Henderson Mike Miller & Frank Gambale together




Eric Marienthal (saxophones), Mike Miller (guitar), Steve Hunt (keys), Lance Crane (drums), Frank Gambale (guitar), James Hogan (guitar), Christian Fabian (bass), Scott Henderson (guitar), Mitch Forman (keys), Alex Acuna (percussion), Luis Conte (percussion)
The all-star Crane & Fabian Project album “No Limits” will release in the United States April 1, 2012 and will be available on Spice Rack Records, Itunes and at www.craneandfabian.com . The all-star lineup of top Jazz musicians of the last 30 years includes: Frank Gambale, guitar; Eric Marienthal, sax; Gregg Bissonette, drums; Lance Crane, drums; plus Scott Henderson on guitar and Alex Acuna on percussion and drums; Mitch Forman, keys; Luis Conte, percussion; Mike Miller, guitar; Larry Stein, bass; Hussain Jiffry, bass; Christian Fabian, bass; and newcomer James Hogan on guitar. The album pumps up the classic percussion and shredding guitar sounds of Return to Forever, the Chick Corea Electric band and Tribal Tech with dueling guitars. And there’s another debut here—this is the first time in music history that three of the Chick Corea Elektric Band guitarists are on the same album.
The Crane & Fabian project started out as a collaboration between bassist/composer/arranger Christian Fabian and award-winning producer/drummer Lance Crane. ”Let It Rip”, their first CD has previously only been available in Japan on King Records, where it received great reviews and was one of the top-selling new Jazz albums on King Records.


Larry Rosen : How To Produce A Successful (Jazz) Concert




With his JAZZ ROOTS concert series, producer Larry Rosen has a winning formula that sets the standard for successful Jazz concert production and marketing.

Julian Lage: Unbelievable solo!!



Julian Lage joined Armand Hirsch for an impromptu jam in the garden after dinner. The hydrangeas, thundercloud plum, and boxwoods all went wild. The impatiens were uncharacteristically patient and the weeping cherry...well, you can imagine the mess

Awesome Prymaxe Vintage product clips!



Like most of us I like to hear about the latest products. There are a lot of new pedal and guitars coming out every week. I really like the Prymaxe product demonstrations. Always top quality sound and the right style of  playing that illustrates the use of the pedal in various ways. Just like the demos by Strymon they make a great effort to inform us in a professional way. In this day and age where internet shops are on the rise these demos are more than welcome. For a local shop it's practically undoable to keep up with everything that comes out. You can't blame them for not hooking up with every new trend. Online stores can buy stuff in large quantities and sell at a much more appealing price level. Thanks to Youtube and companies like Prymaxe we can learn about new stuff before we buy or we can simply enjoy the whole presentation.

February 7, 2013

Allen Hinds testing some new gear!!



 a Taylor McGrath (TMG) guitar through a Bad Cat amp

Allen Hinds was so impressed with the tones he was getting at the Bad Cat Amplifiers/ Taylor McGrath Guitars booth at NAMM he decided to pay a visit to the Bad Cat factory in Irvine, CA to sample a few more offerings. He ended up finding his tone nirvana in a '64 styled TMG Dover through a Bad Cat Custom Shop AB50 (predecessor to the Fat Cat).

Allen Hinds uses the Bob Burt GR8T Distortion 

About the Pedal:
It is a single gain stage design, which keeps it quiet and allows it to maintain a lot of detail and pure guitar tone. Besides gain, tone and output volume, the pedal features an eight way rotary switch that starts with no compression and gives a series of gradual steps of compression. As you turn the switch clockwise, the pedal compresses, changing the shape of the distortion waveform in each mode. When used in conjunction with the gain and level controls, you can go from raw rock and metal tones, down to compressed and warm D-style overdriven tones. It interacts with your guitar volume and tone allowing it to clean up well as you reduce the volume of your guitar. Think of it as eight great distortion voices in one pedal.

February 6, 2013

Scott Henderson: Caldonia licks

A lot of people don't transcribe because they think it's too much work and they have to do an entire solo. Well you don't. You can focus on the rhythms or just a lick here and there. Here I wrote down three lines from the beginning of Scott's solo in Caldonia with Steve Trovato. These lines are where Scott goes 'all funny', as a friend of mine described it. Some would call it outside but it's not. What are the notes that kind of jump out and catch your interest.

The examples I transcribed contain some interesting notes and there are lots more. I always try to understand them harmonically and focus less on the rhythms.

In example 1 at 2,14 Scott plays a mixolidian line over the D7 chord and the F3 fits right in but might sound funny or weird if you're expecting just the notes from the blues scale.

In example 2 at 2:20 Scott plays D melodic minor over G7. The 7th of that scale is a c#. Common practice in jazz.

Example 3 uses the diminished scale.




February 5, 2013

Scott Henderson playin' Caldonia! with Steve Trovato





Caldonia

From Wikipedia, the free encyclopedia
"Caldonia" is a jump blues song, first recorded in 1945 by Louis Jordan and his Tympany Five.
A version by Erskine Hawkins, also in 1945, was described byBillboard magazine as "rock and roll",
the first time that phrase was used in print to describe any style of music.

Lucy's 51 in Toluca Lake, CA.
Check out Steve's web site at www.stevetrovato.com

Robben Ford New cd samples

 ------------------------->listen here.<-------------------------- nbsp="">

February 3, 2013

Jody Fisher: wonderful solo JAZZ guitar



Wonderful clip of Jody. I really like his fingerstyle playing with all the cascading harmonics!


Jody has published over twenty instructional books about jazz guitar with Alfred Publishing, Workshop Arts Publications, and Mel Bay Publications. Four of his books have appeared in the Smithsonian Institute's Folkways Exhibition in Washington, DC. In addition Jody has written for most of the major guitar magazines, including Guitar Player, Just Jazz Guitar and Finger Style Guitar.
As an educator, Jody has held the positions of Professor of Jazz and Studio Guitar at the University of Redlands, in Redlands, CA, the University of La Verne, in La Verne, CA, and the Idyllwild School of Music and the Arts (ISOMATA), in Idyllwild, CA. In addition, he has also served as Associate Director of the National Guitar Workshop as well as Director of the Workshop's Jazz Summit in the early years of that program. Jody continues to conduct seminars and clinics all over the country.



Equipment:
Klein Custom Electric GuitarAcoustic Image, Clarus 1 AmplifierRaezor's Edge, Stealth 12, Speaker Cabinet
Jody Endorses GHS Strings



"Jody Fisher is one of the finest solo guitarists I know. I can listen to him for hours"
Joe Diorio



February 2, 2013

Frank Gambale & Wooten, Coster & Smith NAMM 2013.



Frank Gambale, Victor Wooten, Tom Coster and Steve Smith - Live at the VOX/Korg booth - Winter NAMM 2013

Thanks to Rich Murray at The guitar channel

February 1, 2013

Top 10 tips to be a better BLUES player. Don Mock


Top Ten Things to be a Better Blues Guitar Player  

Don Mock


(not in any particular order)
1. A large collection of Blues recordings
2. The willingness and desire to hang out late in clubs listening to good Blues musicians. And be ready to "sit in" with the band if possible.
3. Tone. Having a mediocre tone can make everything you play lifeless and flat. A great guitar sound enhances every note and can inspire creativity in a player.
4. Patients - is a virtue in Blues soloing. A strong player with lots of chops patiently building a solo, "teasing" the audience comes off lot's better than a player "showing their hand" in the first 12 bars. The phrase "less is more" is usually key to Blues playing.
5. Comping. Players with flashy soloing chops who neglect their rhythm playing will lose out every time to the guy who plays great rhythm parts and average solos. In Blues, supporting the singer or other instrumentalists and making them sound better is as important or more than big solos.
6. Emotions. Being able to make the connection from the brain to the fingerboard to communicate emotions is key. Anger, fear, love, feeling blue, joy and even sexual tension are great to express in Blues.
7. Music theory. Not a style of music known for needing to know a lot of theory, Blues can still benefit from a player who knows their stuff when it comes to theory.


8. A good ear. The best teachers are the guys on recordings. And the best way to learn what they're doing is to copy and emulate them. A good ear make learning off recordings much easier. But having a good ear is equally important on stage. Listening to the other musicians and playing off each other
is what live playing is all about. Not listening and paying close attention on stage is a quick way to find yourself band-less.
9. Sing, even if you are terrible. Singing is Blues. Learn the lyrics of a few Blues tunes. When no one's around, pretend you're B.B. King and sing a tune and add the guitar fills in the correct places. A gold-mine for learning about phrasing, comping and fills around the melody. On the gig, sing one if you're brave enough, or simply let someone else sing it, but you will now have a much better feel and connection to the music.
10. Learn and understand the music business as it relates to Blues. Know who all the top national and local players are. Learn about the equipment, strings and guitars different players are using. Also learn about Blues history. Where did it come from? Who were the people that brought Blues to the
forefront?