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Jazzback Thursday 🎶 1995 Herbie Hancock Institute International Guitar Competition's iconic judging panel: left to right: Jim Hall, John Scofield, Pat Metheny, Pat Martino, and Mark Whitfield. That year’s 1st-place honor went to Dutch guitarist Jesse van Ruller, who went on to become one of Europe’s most celebrated jazz musicians.
Roy Hargrove with Mark Whitfield, Chris McBride and Antonio Hart, Jazzhus Slukefter at Tivoli Gardens Copenhagen, Denmark, 1990
📸 Jan Persson
El retorno de los dioses: Peter Bernstein & Mark Whitfield Organ Quartet (We All Remenber Wes) (XXIV Festival Internacional Jazz San Javier. 2022-07-09) por José Antonio García López y Pedro Sáez [Concierto de jazz]
El retorno de los dioses: Peter Bernstein & Mark Whitfield Organ Quartet (We All Remenber Wes) (XXIV Festival Internacional Jazz San Javier. 2022-07-09) por José Antonio García López y Pedro Sáez [Concierto de jazz]
XXIV Festival Internacional Jazz San Javier Lugar: Auditorio Parque Almansa, San Javier, Murcia Fecha: 9 de julio de 2022 Grupo: Peter Bernstein & Mark Whitfield Organ Quartet Peter Bernstein: guitarra eléctrica. Mark Whitfield: guitarra eléctrica. Phil Wilkinson: órgano Hammond. Mourad Benhammou: batería. Otra noche de jazz con mayúsculas en el Jazz San Javier con la visita de dos relevantes…
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"NEOSOUL JAZZ GUITAR SOLOING"
近年流行りのネオ・ソウル・ギターのギター・ソロにスポットライトを当てた教則本がついに出ました！
表紙に写っているスムース・ジャズ系ギタリストのマーク・ホイットフィールドが書いた本で実際に本人がデモ演奏もしています。
本の中身は全て英文になりますが、タブ譜付きでデモ音源はオンラインでDL出来ます。
本のタイトルは"NEOSOUL"なのですが、その後に"JAZZ"と記載があるようにジャズよりのフレーズが中心です。
それもマーク・ホイットフィールドが得意なベンソン風の連符を多用したフレーズ詰め込み式のソロが中心です。
ネオ・ソウル・ギターと言ってもトム・ミッシュのようなニュアンスを大事にしたシンプルなギター・ソロとはまた違った弾き方ですね。
やはりマーク・ホイットフィールドが弾いているのでネオ・ソウルというよりもスムース・ジャズに近い演奏です。
トム・ミッシュのようにスペースを上手く取るのではなくひたすら間を埋めるようはフレーズが中心です。
この教則本ではオクターブ奏法よりもダブルストップを多用してるからネオ・ソウル扱いなのかな⁉︎
ほぼほぼスムース・ジャズなフレーズ集ですが、確かにネオ・ソウルやチルホップ系のバッキングとも相性が良いフレーズばかりなのでそういったオシャレ系のジャンルが好きなギタリストにおすすめの教則本です♪
難易度は高めですが…。
Einmal mehr Jazz mit Wayne Escoffery und seinem Quartett, mit jungem Vertretungsbassisten, der noch kein Solo darf, und David Kikowski am Klavier, einem der wenigen Leute, denen es gelingt, sogar Wayne ein bisschen die Show zu stehlen.
Gig review: Joey DeFrancesco with Mark Whitfield and Lenny White at Jazz Standard, 6/3/18.
Joey DeFrancesco: organ, trumpet, keyboards; Mark Whitfield: guitar; Lenny White: drums.
The organ trio has been a format thrilling listeners for over a half century. The music thrived on the Chitlin Circuit during the heyday of the mid fifties and the majority of the sixties when rooms such as The Hurricane Lounge in Philadelphia and Smalls Paradise in Harlem featured organ groups night in and night out. The format was derided by purists for it's simplicity and focus on head bopping groove, but over time the organ combo has elevated to high art attracting patrons from all walks of life. A brilliant blend of high art, virtuosity and music for the people was on display when Joey DeFrancesco electrified a packed house on the final night of a four night run at the Jazz Standard in New York. Featuring the high powered support of Mark Whitfield on guitar and the incomparable, legendary Lenny White on drums, DeFrancesco was a beacon of the past, present and future of jazz organ.
The Philadelphia born organist has been pretty much the face of the contemporary jazz organ scene since he helped revitalize the genre as a 17 year old phenom with All Of Me (Columbia, 1989) bringing legends like Jimmy Smith, Jimmy McGriff, Charles Earland and Dr. Lonnie Smith back to the spotlight. Since Jimmy Smith's passing in 2005, Mr. DeFrancesco has been a keeper of the flame, while inspiring legions of young organists for more than two decades. The first set opened with a scorching waltz take on the classic “Willow Weep For Me”. Whitfield, no stranger to organ combos having toured and recorded with Smith and Jack McDuff was simply incandescent on the tune, tearing into the opening solo as if the tune owed him money. He adorned his lines with trademark rapid fire whirling dervish licks that built an almost unbearable tension, and the organist exhibited the manual dexterity of a martial artist ripping unbelievable signature double timed flurries, single note stutters, and ebullient trills. The band kept the throttle on through Richard Carpenter's “Walkin'” at a tempo extremely close to the racehorse sixties sprint that Miles Davis recorded on albums like Four and More (Columbia, 1964) and The Complete Live At The Plugged Nickel 1965 (Columbia/Legacy, 1995). Mr. DeFrancesco was cutting through the changes like a hot knife through butter when two absolutely hilarious in the moment instances occurred musically that were quite subtle. Whitfield's comping threw in a sly nod to the phrase Davis would use to signal a Tony Williams drum solo, and DeFrancesco was working the organ's expression pedal quite feverishly to which Lenny White's sudden machine gun snare blasts were the perfect accompaniment echoing the expression pedal. These two moments were examples of just how in tune this trio was with each other and the high level of listening going on. The tune wound down mysteriously as Whitfield turned on a rich chorus effect and Mr. DeFrancesco responded with some ethereal, Middle Eastern musings on the lower manual. A fun sight throughout the tune was Mr. White's high hat sloshing side to side as he employed four to the bar accents a la Tony Williams.
After a bit of humor asking for a big towel to wipe himself off after the burn of the first two numbers, DeFrancesco picked up Harmon muted trumpet for a sensual reading of “Old Folks”, further connecting the evening to Miles Davis. Over the past several years, the organist has grown quite formidable on trumpet, and he displayed his wonderful chops with an agile solo while playing the bass pedals simultaneously! “Monk's Dream” by Thelonious Monk forever immortalized by Larry Young with Elvin Jones on Unity (Blue Note, 1965) was a forum for a volcanic White solo seemingly summoning Elvin Jones, Tony Williams and Jack DeJohnette at once. Everyone got down, greasy and funky on Lou Donaldson's “Alligator Boogaloo” with DeFrancesco working out on wah wah'd organ and keyboards, and the encore incorporated Ray Charles' “Night Time is the Right Time” taking the Jazz Standard to church and luxuriating in a bluesy reverie. The smell of barbecue wafting through the club fit the music and linked it to it's Chitlin Circuit past while being firmly rooted in the now.
Hopefully this band will go into the studio because it'd be a shame not to, they are so tight and well oiled.
(via https://www.youtube.com/watch?v=ahVL3S2tTSo)
Good Lord! His Ibanez Artstar really shines here :)
