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Concepts for Comping, Quick & Dirty 9th Chords, 5 free lessons download, Blog Links, Tune of the Month and more... https://www.masterguitarschool.com/post/concepts-for-comping-lesson-29
Concepts for Comping, Quick & Dirty 9th Chords, 5 free lessons download, Blog Links, Tune of the Month and more...
Playing the guitar can be sacramental…https://www.masterguitarschool.com/post/practice-is-sacred-time
I am not linking my emotions to my perception of progress, or the lack of it. I am tying my emotions to a meditative, spiritual activity.
I had a gig but it got COVID-cancelled. New Year’s Eve ain’t what it used to be. #masterguitarschool https://www.instagram.com/p/CJfNCg5JdrC/?igshid=1551ntioubu89
Rediscovering old vinyl due to #masterguitarschoolrenovation: Ed Bickert. What a wonderful player that guy was! An album like this is my favorite format: sparse instrumentation, live in a club. We’ll find out what you’re made of! Ed’s playing is something I can listen to over and over and get stuff out of it each time. He’s an encyclopedia of chord voicings and melodic musicality with no frills or flash. I wrote a tribute blog last year upon learning of his passing: https://www.masterguitarschool.com/post/tribute-to-ed-bickert. #masterguitarschool (at Master Guitar School) https://www.instagram.com/p/CJT-ijLpr0V/?igshid=zqwr2go2z8r9
Rediscovering old vinyl due to #masterguitarschoolrenovation: This stands the test of time! Great! An anthology of previously released tracks, all the tunes were recorded from 1970-73. The production holds up. The drums aren’t buried in the mix. Every cut is upright bass and it’s mixed upfront. This is not a guitar album but get this: George Benson, Eric Gale and Cornell Dupree are on various cuts. I don’t have space here to mention all the great players - Ron Carter is on every cut, Freddie Hubbard, Billy Cobham, Milt Jackson, Randy Brecker and TONS more! “Sugar” is a tune I really liked the first 10,000 times I played it but in the hands of these guys it’s amazing. I’ve become jaded and repent in dust and ashes. The surprise is “Speedball.” It’s a riff Blues by Lee Morgan. I spent hours listening to it back in the day; I know I have gig tapes of me playing it and I’d completely forgotten about it. The instant I heard it it all came back to me. The way the mind and music interact is an amazing thing. #masterguitarschool (at Master Guitar School) https://www.instagram.com/p/CJR78Okp2KX/?igshid=10kmgbqeylusr
Rediscovering old vinyl due to #masterguitarschoolrenovation. I was turned on to this album in 1976. Thanks to George Benson crossing over with Breezin’ I was in the first stages of exploring Wes Montgomery and Jazz in general. A few years later I was using this as a model for my own solo jazz gigs. Listening to this now, decades later, several things stand out to me. To say he’s loose with the time is an understatement. It’s a very rubato approach with lots of rabbit trails being chased in between the changes. Listening to this has made me realize that maybe I’ve become too rigid in my solo jazz playing; adhering to the time and the changes too closely has its limitations. I’ve got a couple of solo instrumental jazz gigs next month and I’m going to adopt Pass’ looser approach and use the looper less. Another thing is how he transposes songs into more guitar-friendly keys. “Night and Day” in D instead of C allows liberal use of open strings. “Misty” in E instead of Eb might drive a sax player crazy but lays so much better on the guitar. Hey, when you’re solo you can do whatever you want! #masterguitarschool (at Master Guitar School) https://www.instagram.com/p/CJRQPJjprVM/?igshid=8jkn1n9wx2ub
Rediscovering old vinyl due to #masterguitarschoolrenovation: Terje Rypdal is a Norwegian guitarist and composer known as, “tone poet of the Fender Stratocaster.” He’s a multi-instrumentalist, playing keyboards, trumpet and flute. He’s recorded extensively on ECM. I have several of his records from the late 70s-early 80s. He is a jumble of influences. His music is almost Avant-garde, but not quite. Free Jazz, kinda. A little psychedelic Rock, Classical - one reviewer said, “...blending of Rock and Jazz phrasing with a rubato concern for tone color and dynamics often redolent of the classical world.” Interpretation: you can’t dance to it! It’s dark, awash with producer Manfred Eichers’ characteristic reverb and delay. When I listen to it I see frozen Norwegian fiords. My feeling is most people aren’t going to relate to this. However, I have an avant-garde streak and I like to be influenced by stuff like this. I’m going to dig out some more Terje in the coming days. #masterguitarschool (at Master Guitar School) https://www.instagram.com/p/CJHAMvhJsh3/?igshid=m938qw19q97m
Rediscovering old vinyl due to #masterguitarschoolrenovation: my feelings for Jim Hall are on record elsewhere - the guy is one of my main influences. I’ve never thought of him as an overt technician. I’ve always thought he was working within some limitations in that department with supreme restraint, taste and musicality. Perhaps this is due to his own stated opinions about his own playing. After listening to this record for the first time in decades I’m revising my opinion without changing the restraint, taste and musicality part. The first track, “Simple Samba” is anything but simple! I hear a blistering tempo, consistently clean sweep-picking arpeggios and huge melodic jumps in his soloing. Ditto for the rest of the album. I don’t like the drum mix! I can’t hear the cymbals and high end percussion very well. Lest you blame my damaged hearing from playing too much Rock in the late 70s and 80s, I’m hearing keyboard and guitar parts in the 5k range, plus I hear the drums just fine in other recordings, so I blame the producer. Airto Moreira deserves to be heard. #masterguitarschool (at Master Guitar School) https://www.instagram.com/p/CIgTXObJYzp/?igshid=rv1koeozmst
