Circa 1947 the King Cole Trio took part in Gene Norman's "Just Jazz" festival (elements similar to Norman Granz'' JATP, the 1944 edition Nat also took part in with Les Paul on guitar), Louis Belson, Red Norvo and several horn players also took part in. There's a version of "How High The Moon" where Oscar Moore takes two courses.
The Gene Norman's Just Jazz collection, The "How High The Moon" cut is roughly 1.25 hours into the video.... th-cam.com/video/H4Dzh5DJfiM/w-d-xo.htmlsi=w48K12bxhDjHPiSH
Grant Green's tone is generally pretty "tinny"-sounding, which initially made me resist exploring him further...but he was truly an AMAZING player. I've learned Cool Blues and Miss Ann's Tempo and, particularly the second was NOT easy to learn. So many ideas for the toolbox! Tinny or not, the guy could seriously play.👌😎
"Yes, Barney Kessel did meet Charlie Christian. They were both from Oklahoma. Barney used to talk about meeting Charlie in interviews." This from a guitarist friend that was a student of John LaChapelle (as was Larry Coryell) "that used to tell stories about all these guys." John migrated from Wisconsin (where he played with a radio band when he was younger) to Richland, WA during the Manhattan project years. He was a mentor of many, including me, a keyboard player, and was the real deal, playing an L-5 wide hollow body, chord solos like the masters, his mentors like Joe Pass, etc. Again from my friend, "Yep, John played an acoustic L-5. He originally had an old deArmond pick-up attached, and then later had a Gibson Johnny Smith pick-up installed. He had a few flattops, etc., over the years, but that old L-5 (1940s?) was always his primary instrument."
Definitely find the observation between Hodges and Van Halen - I have found it useful to listen to all a wide variety of playing as I feel it elevates my learning of the instrument in general and how it's used, instead of necessarily focusing on one area really specifically
Your annalyses is spot on, especially the fragments you dig out for further use over changes, like dim over dominant and maj7 arp over the mi7 chord, good video
Totalmente de acuerdo Jens. Has puesto ejemplos muy muy buenos y eficaces. Porque actúan como adornos en los solos y valen oro...es normal que el tono de algunas guitarras nos parezcan extraños. A mi me encanta por ejemplo Martino pero no siempre me gusta su tono en algunos directos(cuando el tono de Pat es muy bueno, no se me malinterprete😅) El guitarrista de Nat Cole me parece un genio absoluto. Fue de lo primero que escuché y podía estar horas haciéndolo y soñando...
I distinctively remember Barney Kessel talking about Christian in some guitar/jazz mag. How he had met him and I seem to remember that Christian had been jamming with somebody who was not good, and he put away his guitar, explaining that the played for pleasure, to learn, and to earn. That's what I remember of Kessel's story about spending some time with Christian.
Thanks again Jens. I still say your Mathematics background has helped you to be good at explaining things. As far as playing solos goes, my opinion is that there needs to be different approaches to solos for different reasons. This seems obvious to mention but not so obvious to think of during 'real time' playing. There is not really a 'cookie cutter' approach for everything. Oscar Moore's solo examples here show an approach which fits the songs. To me, such versatility is a hallmark of a better musician. Flashy technique is good but it works better in places that suit it. I like a lot of great Rock Guitarists but some of their solo playing can be too heavy for someone else's song. It mostly works fine in their own songs but if they're in a different Musical environment, a versatile approach keeps everyone happy. You don't (always) need a blowtorch to make a slice of toast. I also liked the concept of Cm, CmM7, Cm7 to F7 played Melodically. That clears up a few more 'BeBop Mysteries' (for me anyway). Even though I'm already familiar with the practice of: I, IM7, I7, IV7 (it's everywhere) - I still wouldn't have thought to put it into melodic form (well maybe in about twenty years). 🤘
Haha! You never met my professors at the university! 😂 I think I learned teaching because I did it a lot, it was a part of my education at the conservatory and because I had to learn when I was already 23
@@JensLarsen I remembered you said the teachers weren't so great. Anyway, you did some Maths. Maths has lots of patterns. That must account for something. Many Music 'Teachers' I worked with were too vague to even write a melody or describe a chord. I didn't go to Uni until I was 22.
DEFINITELY I think NAT was a brilliant pianist. He’s underrated obviously because of his beautiful voice. Thank you again Jens. Have a great CHRISTMAS with your family! Man, thanks for all the hardworking information you put into your videos . I taught too,but had an accident which stopped me. I still play of course !!! Sometimes there’s a way around things!! 😃👊🏾🎸👍🏾🎅🎄
To be offended by that comparison is silly. So many great guitar players (and other musicians) know how to balance being “in the pocket” with floating over the melody with something that sounds cool by itself.
Hello Jens, Now I know that you are a mathematician I understand how you can easily see the underlying musical structures and motifs in diverse musical genres. You are so right to recognise this and I think it gives a deeper and more satisfying understanding and outlook on music as a whole. Thanks for all your great work. Regards David.
I'm glad I've never regarded early jazz, swing and bebop as they are pictured on the "Jazz Evolution" scale! Christian, Moore and Green are three of my favourites, although it's hard to say how much of their styles I've incorporated into my own playing, as I take a more chordal approach to soloing. ... By the time, the King Cole Trio recorded "Sweet Lorraine," it was already a standard, as it dates to 1928.
So glad to hear Oscar Moore mentioned here. Thanks! His phrases were always so interesting to me and gave a special character to the King Cole Trio's sound. Another great sideman that was similarly overshadowed was Dave Barbour.
What about learning from other musicians who aren't guitar players? I got a lot from Bird, Miles, and numerous other players of various instruments that are not guitar. The only thing I'll say about your dislike of Grant Green's tone on that album or elsewhere - It's subjective, so it's irrelevant. I like his tone on that album and in general. It's not dark like other players from that era tended to be. It's like what Nigel Tufnel said about jazz players and their dark tone: what are you hiding?
Hi Jens as a teacher we must take into consideration. The Genius behind each player naturally gifted abilities. I have notice that in previous videos you have made. Wes, George, etc you down play them by saying that some of their work is simple or you say that they lack the intellectual capacity to explain harmony. That’s completely incorrect. Charlie, Wes, Joe, George, Grant , study there instrument as well as the other players that are to many to mention. You keep saying that Wes licks are simple how is it simple if it’s from the heart. I am a college grad with a degree in jazz education and performance. As a professional jazz musician and teacher we need to erase the word simple from our vocabulary or conversations when teaching our students. Nothing is simple when it sounds right and feels good. That’s why it’s call jazz straight from the ❤️ let’s not take the position that a lot of us went to college doesn’t mean that we are better players. Remember we all are studying these guy’s music it’s obvious that we listen to take away and to used in our own playing. Thank you my friend for listening you are a great player and teacher. Blessings
Let's start with this: I have NEVER downplayed anybody's abilities because they can't analyze what they are playing. I don't know where you get that idea, but to quote your own comment: "That’s completely incorrect." This is something you are making up and it is very insulting given that I make videos about music that I love. You also need to understand that saying that something is simple is not the same as saying it is easy, and I don't think anybody thinks that I am saying it is easy. If we stay with Wes then it is in many ways his simplicity that is his genius because it gives his solos a clarity that is anything but easy to have in your solos. This is by the way not a unique opinion of mine, since it is quite obvious to anybody who checks out his music. If it had been very complicated then it probably would not come across as " straight from the ❤" I am also curious where I have ever said anything that you can choose to interpret as "let’s not take the position that a lot of us went to college doesn’t mean that we are better players." With comments like these, I can only imagine that you didn't actually pay attention to what I am teaching in the videos since you are getting pretty much everything wrong. It is either that or you are watching the video hoping to find something that you can disagree with.
Wow! We have the same path. I came to Jazz from Mathematics. I had a Jazz book which teaching resembled Topology - note neighborhood, spaces, etc... That convinced me to even go deep into the theory. 😀 And I was also a lot into Wes Montgomery and George Benson, Oscar Peterson, Lester Young, Miles Davis, etc...
I love watching your videos, on TH-cam and also Instagram. I don't read music, and i'm left handed, so trying to follow your demonstrations is quite tough, but I learn a little something almost every time I watch. 👍🏻
Jens, I'd enjoy your aporaisal of the American guitarist, Gray Sargent, who to me is heard to his best asvantage in his mad breakneck live work with the astounding pianist, Dave McKenna, who had such a powerful left hand it's breathtaking.
@@JensLarsen wonderful! Jens Larsen is the coolest man on TH-cam, and it flatters me that I could turn him on to a terrific guitarist. Dave McKenna was a superb jazz pianist. That left hand of his was such a marvel I'm not sure he ever worked with a bassist.
Well this is embarrassing. Of course, I had C Christian and G Green, but I never even heard of O Moore! But now I will. In answer to you recommend pin. Apart from CC and GG, Pat Martino, Joe Pass, Wes, John Mc, Kenny Burrell, G Benson, F Green, J Raney. I could go on forever, but I should add that the amount I learnt from each was miniscule.
Spending the morning listening to the Nat King Cole trio. Great tip on Oscar Moore. I'm guilty of overlooking him. So great! Thanks. And Jens - thanks for all the great content.
Great stuff, thanks! What don't you like about Grant's tone? I like his tone because of the single-coil sparkle and articulation. It is definitely more trebly and midsy, than others. But I like that it's different, and I think gives nice articulation to his time feel and syncopation.
I think listening to solos in songs as opposed to a track that is simply one long improvisation is a really great way to get in to developing ears, vocabulary and much more and I don't think a beginner should listen to just jazz but any great solo that stands out. having 8 bars and playing something amazing in an already amazing track is not an easy thing to do and Brian May or George Harrison just to name the ones in my head right now (Robert Kray is floating around right now too for some reason) is a great step into learning through a natural approach. And focussing on melodic aspects of improvisation.
A bunch of sounds that sound impressive? Some people agree that is a definition of music. I'd rather be impressed than bored. Be careful about the lack of air up there in the musical stratosphere.
Does it really make sense to write him off on that. That's like saying Hendrix is a lesser musician than Coltrane, and I am not sure I think he was. Improvising over changes is only one skill, just like bending strings is also only one skill. Does it make sense to judge music only on that?
@@JensLarsen Later in his career, Hendrix became friends with Miles Davis (who was a Pall Bearer at Jimi's Funeral). Hendrix was always working on new things. If he didn't pass away so suddenly, he may have gotten into Jazz. Jimi learnt the 'E7#9' Chord from Miles (allegedly).
@@kevindonnelly761 It was stated in a Hendrix documentary years ago that he learned the #9 chord from a keyboard player in a London studio while recording his first album there. It then was incorporated into Purple Haze etc. This was 2-3 years before he met Davis back in the States.
@@JensLarsen, skill and ability are objective metrics and there's power and value in discernement. It's fine to say "I really like his music", but no amount of screaming "I know what I like!" will turn VH or Lennon or Clapton into real players. You're welcome to call it snobery and you're welcome to listen to Robert Plant and espouse how great he was. Personally, I choose to listen to and emulate objectively GREAT players who dedicated their lives to Jazz. Players who can swing, have full access to harmony, can play with feeling and tone and accuracy... Hendrox was popular by virtue of tie dye shirts, hippie culture and the marketing machine that chose to promote him, not skill. Yes, people conflate his shaggy hair and necklaces and drug abuse with musical skill, but that's about a generation being sold a load of bullshit. Furthermore, statements like "Jimi was as goood as Coltrane" is a huge insult to Coltrane and to the people who created and built the idiom, and that's on the record: Most Jazz players dispized the rise of brittish invasion schlock. They saw if for what it was: The dumming down of the American ear. The fact is, there's no comparison between a basic blues player and a Jazz player who has full access to their instrument. One encompasses all of music, the other doesn't even scratch the surface. Again, "but I like it!!" is another conversation.
The following expression evaluates to false (jazz > math). In other words, no, jazz is not superior to math. In fact, you can't define a function that could compare them because they are not the same kind of a thing. Both require intelligence and creativity but with different ratios. The STEM fields are more towards intelligence and jazz towards creativity. Even non musicians, who are in the STEM fields, can very easily figure out harmony and what notes you can use where. You can do it with combinatorics, its not that hard. The hard part is being creative with it. There is no formula to being melodic. As a software engineer and a musician, i can sometimes be astonished how clever musicians think they are. The amount of complexity and sophistication of thinking i've seen in programming/math do not exist in music.
That is interesting! When I started at the university I thought I would major in computer science, but it quickly became clear that the students who were busy with that for some reason had no sense of humor, so in that respect, Math > Computer Science.
I once taught Guitar / Berklee Theory for five years to a Nuclear Physicist (who was Manager here in Melbourne - and later on in Chicago and New York USA for five years each at Synchrotrons / Nuclear Particle Accelerators). He was surprised at how hard it was to learn REAL Music. I also taught a PhD in Chemistry (for three years). He found Music / Guitar extremely difficult - and struggled. Another past student of mine read Classical Guitar for three years. He got an A+ for Grade Three Classical Guitar. He was a Computer Programmer. He was self taught. He was so clever, he found Computer Science at Uni boring - so he dropped out. He's still a Consultant for large Corporate Firms to this day. He found Music / Guitar very difficult too. They all found Music very difficult. I read Music Composition / Schenkerian Analysis (Major) and Physics (minor) toward my admission to a BA. I can tell you first hand. They are both difficult. As to which is superior ? Who cares ? The Nuclear Physicist tells me I'm a Genius.
@@JensLarsen Really? That is surprising. I had the opposite experience. Math is amazing, don't get me wrong. However, it exists in an imaginary world where nothing outside of your own mistakes can trip you. As soon as you have to write your ideas on the machine, to be executed, you quickly find out things are not the way you thought. You have to deal with global state, cpu cache, branch predictor, hardware bugs, firmware bugs, library bugs and all the books about time complexity analysis go out the window.
@@kevindonnelly761 Yea, there is something to that but it is circumstantial. There are factors like talent, real desire to learn it and actual mental capacity they had after a hard day's work. But generally, i agree with you to some extent. There is an overlap between science and music. Bach used certain algorithms to generate music. And he used to write with his own kind of scripting language that had additional symbols. Why i chose to stop being a practicing musician is partially that music is subjective. You might work on a great piece of music and some schmuck who doesn't know a god damn thing can tell you it sucks and you can't prove otherwise. In computer science, i can prove who is right and who is wrong.
Recommend The Guitarists That You Learned From! 🙂
I Wish Every Jazz Beginner Could Watch This! th-cam.com/video/F_uuHfrMfIQ/w-d-xo.html
Hola Jens debo asegurarme que me comuniqué con telegr.. ayer .Todo por seguridad.
@@juanbusquier8546 I don't speak Spanish, so I have to guess. I am NOT sending you messages on telegram. That is a scam
@@JensLarsen ok thanks Jens
It is scam...
Circa 1947 the King Cole Trio took part in Gene Norman's "Just Jazz" festival (elements similar to Norman Granz'' JATP, the 1944 edition Nat also took part in with Les Paul on guitar), Louis Belson, Red Norvo and several horn players also took part in.
There's a version of "How High The Moon" where Oscar Moore takes two courses.
The Gene Norman's Just Jazz collection, The "How High The Moon" cut is roughly 1.25 hours into the video....
th-cam.com/video/H4Dzh5DJfiM/w-d-xo.htmlsi=w48K12bxhDjHPiSH
Grant Green's tone is generally pretty "tinny"-sounding, which initially made me resist exploring him further...but he was truly an AMAZING player. I've learned Cool Blues and Miss Ann's Tempo and, particularly the second was NOT easy to learn. So many ideas for the toolbox! Tinny or not, the guy could seriously play.👌😎
Jim Hall on Undercurrent with Bill Evans.
First listened to that album about a week ago, it really blows you away.
Yes. And one of the more unusual and beautiful lp covers in the jazz genre. Beautiful album all around.
Charlie y Django
Wes
Grant Green
Joe Pass
Martino
.
.
.Es un orden ...
Yes Jens, Kessel and Christian did meet.
th-cam.com/video/JZl81y7f7qc/w-d-xo.htmlsi=ipLRppUrq8sP79KH
I started laughing when you played the Johnny Hodges clip, it literally is the same phrasing as Van Halen😂
Thank you! 🙏
Guthrie Trapp , Tom Bukovac & Oz Noy are pretty cool too .
"Yes, Barney Kessel did meet Charlie Christian. They were both from Oklahoma. Barney used to talk about meeting Charlie in interviews."
This from a guitarist friend that was a student of John LaChapelle (as was Larry Coryell) "that used to tell stories about all these guys."
John migrated from Wisconsin (where he played with a radio band when he was younger) to Richland, WA during the Manhattan project years. He was a mentor of many, including me, a keyboard player, and was the real deal, playing an L-5 wide hollow body, chord solos like the masters, his mentors like Joe Pass, etc. Again from my friend, "Yep, John played an acoustic L-5. He originally had an old deArmond pick-up attached, and then later had a Gibson Johnny Smith pick-up installed. He had a few flattops, etc., over the years, but that old L-5 (1940s?) was always his primary instrument."
Larry Coryell, Al Di Meola.
Definitely find the observation between Hodges and Van Halen - I have found it useful to listen to all a wide variety of playing as I feel it elevates my learning of the instrument in general and how it's used, instead of necessarily focusing on one area really specifically
Totally agree!
It's always a vital sign to have inspiration when you're starting out as a musician, especially in the jazz department! Cheers
Glad you like it, Ron!
@@JensLarsen Always man!
Your annalyses is spot on, especially the fragments you dig out for further use over changes, like dim over dominant and maj7 arp over the mi7 chord, good video
Glad you like them!
Totalmente de acuerdo Jens. Has puesto ejemplos muy muy buenos y eficaces. Porque actúan como adornos en los solos y valen oro...es normal que el tono de algunas guitarras nos parezcan extraños. A mi me encanta por ejemplo Martino pero no siempre me gusta su tono en algunos directos(cuando el tono de Pat es muy bueno, no se me malinterprete😅)
El guitarrista de Nat Cole me parece un genio absoluto. Fue de lo primero que escuché y podía estar horas haciéndolo y soñando...
Thank you 🙂
Jens, thank you for being there and all the great teaching!
You are so welcome!
I distinctively remember Barney Kessel talking about Christian in some guitar/jazz mag. How he had met him and I seem to remember that Christian had been jamming with somebody who was not good, and he put away his guitar, explaining that the played for pleasure, to learn, and to earn. That's what I remember of Kessel's story about spending some time with Christian.
Thanks again Jens. I still say your Mathematics background has helped you to be good at explaining things. As far as playing solos goes, my opinion is that there needs to be different approaches to solos for different reasons. This seems obvious to mention but not so obvious to think of during 'real time' playing. There is not really a 'cookie cutter' approach for everything. Oscar Moore's solo examples here show an approach which fits the songs. To me, such versatility is a hallmark of a better musician. Flashy technique is good but it works better in places that suit it.
I like a lot of great Rock Guitarists but some of their solo playing can be too heavy for someone else's song. It mostly works fine in their own songs but if they're in a different Musical environment, a versatile approach keeps everyone happy. You don't (always) need a blowtorch to make a slice of toast.
I also liked the concept of Cm, CmM7, Cm7 to F7 played Melodically. That clears up a few more 'BeBop Mysteries' (for me anyway). Even though I'm already familiar with the practice of: I, IM7, I7, IV7 (it's everywhere) - I still wouldn't have thought to put it into melodic form (well maybe in about twenty years). 🤘
Haha! You never met my professors at the university! 😂
I think I learned teaching because I did it a lot, it was a part of my education at the conservatory and because I had to learn when I was already 23
@@JensLarsen I remembered you said the teachers weren't so great. Anyway, you did some Maths. Maths has lots of patterns. That must account for something. Many Music 'Teachers' I worked with were too vague to even write a melody or describe a chord. I didn't go to Uni until I was 22.
Barney met Christian. Check this out;
Barney Kessel: The Complete 1981 "Charlie Christian" Interview (HD Audio)
Rage against the Machine ? I would never have thought that ... i love rage against the Machine, but i also love jazz in all its forms.
Yeah I listen to a lot of music 😁
DEFINITELY I think NAT was a brilliant pianist. He’s underrated obviously because of his beautiful voice. Thank you again Jens. Have a great CHRISTMAS with your family! Man, thanks for all the hardworking information you put into your videos . I taught too,but had an accident which stopped me. I still play of course !!! Sometimes there’s a way around things!! 😃👊🏾🎸👍🏾🎅🎄
Where is the Herb Ellis love I haven't seen him mentioned once on your channel 🙁
You just need to watch more videos! 😎
To be offended by that comparison is silly. So many great guitar players (and other musicians) know how to balance being “in the pocket” with floating over the melody with something that sounds cool by itself.
Hello Jens, Now I know that you are a mathematician I understand how you can easily see the underlying musical structures and motifs in diverse musical genres. You are so right to recognise this and I think it gives a deeper and more satisfying understanding and outlook on music as a whole. Thanks for all your great work. Regards David.
I'm glad I've never regarded early jazz, swing and bebop as they are pictured on the "Jazz Evolution" scale! Christian, Moore and Green are three of my favourites, although it's hard to say how much of their styles I've incorporated into my own playing, as I take a more chordal approach to soloing. ... By the time, the King Cole Trio recorded "Sweet Lorraine," it was already a standard, as it dates to 1928.
Moore was a treasure, and I've always lamented his obscurity.
@@bobtaylor170 I feel the same. He should have had a much larger post-King Cole Trio career.
He threw in Police Academy 😆
I needed a riot 😁
Great video Jens, as a beginner this is exactly the video I need
Glad it was helpful,Alan!
if you are a beginner listening to Django could make you sell your guitar and buy a tamborine
So glad to hear Oscar Moore mentioned here. Thanks! His phrases were always so interesting to me and gave a special character to the King Cole Trio's sound. Another great sideman that was similarly overshadowed was Dave Barbour.
Yes, yes, yes to both! Oscar Moore, especially, was a delight, and I have always lamented his obscurity.
Subscribed! This video had so much good information and the way you explained it, gives the information context. Glad I found this channel
Glad it was helpful!
What about learning from other musicians who aren't guitar players? I got a lot from Bird, Miles, and numerous other players of various instruments that are not guitar. The only thing I'll say about your dislike of Grant Green's tone on that album or elsewhere - It's subjective, so it's irrelevant. I like his tone on that album and in general. It's not dark like other players from that era tended to be. It's like what Nigel Tufnel said about jazz players and their dark tone: what are you hiding?
You can learn from other instruments as well as no problem. I just thought I'd make a video on guitar players.
Hi Jens as a teacher we must take into consideration. The Genius behind each player naturally gifted abilities. I have notice that in previous videos you have made. Wes, George, etc you down play them by saying that some of their work is simple or you say that they lack the intellectual capacity to explain harmony. That’s completely incorrect. Charlie, Wes, Joe, George, Grant , study there instrument as well as the other players that are to many to mention. You keep saying that Wes licks are simple how is it simple if it’s from the heart. I am a college grad with a degree in jazz education and performance. As a professional jazz musician and teacher we need to erase the word simple from our vocabulary or conversations when teaching our students. Nothing is simple when it sounds right and feels good. That’s why it’s call jazz straight from the ❤️ let’s not take the position that a lot of us went to college doesn’t mean that we are better players. Remember we all are studying these guy’s music it’s obvious that we listen to take away and to used in our own playing. Thank you my friend for listening you are a great player and teacher. Blessings
Let's start with this: I have NEVER downplayed anybody's abilities because they can't analyze what they are playing. I don't know where you get that idea, but to quote your own comment: "That’s completely incorrect." This is something you are making up and it is very insulting given that I make videos about music that I love.
You also need to understand that saying that something is simple is not the same as saying it is easy, and I don't think anybody thinks that I am saying it is easy. If we stay with Wes then it is in many ways his simplicity that is his genius because it gives his solos a clarity that is anything but easy to have in your solos. This is by the way not a unique opinion of mine, since it is quite obvious to anybody who checks out his music. If it had been very complicated then it probably would not come across as " straight from the ❤"
I am also curious where I have ever said anything that you can choose to interpret as "let’s not take the position that a lot of us went to college doesn’t mean that we are better players."
With comments like these, I can only imagine that you didn't actually pay attention to what I am teaching in the videos since you are getting pretty much everything wrong. It is either that or you are watching the video hoping to find something that you can disagree with.
Wow! We have the same path. I came to Jazz from Mathematics. I had a Jazz book which teaching resembled Topology - note neighborhood, spaces, etc... That convinced me to even go deep into the theory. 😀
And I was also a lot into Wes Montgomery and George Benson, Oscar Peterson, Lester Young, Miles Davis, etc...
Agreed!!! Well explained!!! Thank you!!!
Glad it was helpful!
Wonton Marsalis is a great musician who uses sound effects in some of his solos
Great vid! By the way, how would you rate Jimmy Bryant?
I don't usually rate musicians. Is that strange? Maybe he is a "really solid" on a scale from 7 to A+ 🙂
@@JensLarsen -- I'm not English speaking, maybe "rate" was not the right word. To my ears his playing is awesome!
@@rc3539 No problem! I just thought it was funny. I don't know his playing enough to really have an opinion.
I love watching your videos, on TH-cam and also Instagram. I don't read music, and i'm left handed, so trying to follow your demonstrations is quite tough, but I learn a little something almost every time I watch.
👍🏻
Go for it!
Informative lesson as usual Jens...!!!
Glad you liked it, Rick!
Green the king of phrygian dominant!
Jens, I'd enjoy your aporaisal of the American guitarist, Gray Sargent, who to me is heard to his best asvantage in his mad breakneck live work with the astounding pianist, Dave McKenna, who had such a powerful left hand it's breathtaking.
I had never heard of him but the stuff I am listening to now sounds great.
@@JensLarsen wonderful! Jens Larsen is the coolest man on TH-cam, and it flatters me that I could turn him on to a terrific guitarist. Dave McKenna was a superb jazz pianist. That left hand of his was such a marvel I'm not sure he ever worked with a bassist.
Thanks Jens! As a jazz dabbler and fan of your channel - this is wonderful.
Glad you like it!
Well this is embarrassing. Of course, I had C Christian and G Green, but I never even heard of O Moore! But now I will. In answer to you recommend pin. Apart from CC and GG, Pat Martino, Joe Pass, Wes, John Mc, Kenny Burrell, G Benson, F Green, J Raney. I could go on forever, but I should add that the amount I learnt from each was miniscule.
Spending the morning listening to the Nat King Cole trio. Great tip on Oscar Moore. I'm guilty of overlooking him. So great! Thanks. And Jens - thanks for all the great content.
Great stuff, thanks! What don't you like about Grant's tone? I like his tone because of the single-coil sparkle and articulation. It is definitely more trebly and midsy, than others. But I like that it's different, and I think gives nice articulation to his time feel and syncopation.
I was born in 1947, And my dad was crazy about Nat King Cole, so I must have grown up listening to these jazz solos from my earliest years.
I think listening to solos in songs as opposed to a track that is simply one long improvisation is a really great way to get in to developing ears, vocabulary and much more and I don't think a beginner should listen to just jazz but any great solo that stands out. having 8 bars and playing something amazing in an already amazing track is not an easy thing to do and Brian May or George Harrison just to name the ones in my head right now (Robert Kray is floating around right now too for some reason) is a great step into learning through a natural approach. And focussing on melodic aspects of improvisation.
Great video Jens thank you
Glad you enjoyed it!
I really enjoy your channel and find it really helpful and interesting. Your approach is pretty refreshing - cheers!
Thank you very much! That's really great to hear
for my melodies ive started with ella
Thank you Master, simply and concrete as always 👍
You are very welcome
No, Jens. You stepped out of a dream.
?
Thank you,Jens🌹⭐🌹
Thanks for checking it out!
Wait! 😱 Did u dis Van Halen? I'm not sure. Should I be upset? Pls let me know. Thanks 😂
😂🙏
Спасибо!
Glad you like it 🙂
A bunch of sounds that sound impressive? Some people agree that is a definition of music. I'd rather be impressed than bored. Be careful about the lack of air up there in the musical stratosphere.
Sure! Opera is also popular for a reason 🙂
Show me a Van Halen recording where he changes Keys (you can't, by the way). He was just another 12 Bar Blues rock fool.
Does it really make sense to write him off on that. That's like saying Hendrix is a lesser musician than Coltrane, and I am not sure I think he was. Improvising over changes is only one skill, just like bending strings is also only one skill. Does it make sense to judge music only on that?
@@JensLarsen Later in his career, Hendrix became friends with Miles Davis (who was a Pall Bearer at Jimi's Funeral). Hendrix was always working on new things. If he didn't pass away so suddenly, he may have gotten into Jazz. Jimi learnt the 'E7#9' Chord from Miles (allegedly).
@@kevindonnelly761 It was stated in a Hendrix documentary years ago that he learned the #9 chord from a keyboard player in a London studio while recording his first album there. It then was incorporated into Purple Haze etc. This was 2-3 years before he met Davis back in the States.
@@JensLarsen, skill and ability are objective metrics and there's power and value in discernement. It's fine to say "I really like his music", but no amount of screaming "I know what I like!" will turn VH or Lennon or Clapton into real players. You're welcome to call it snobery and you're welcome to listen to Robert Plant and espouse how great he was. Personally, I choose to listen to and emulate objectively GREAT players who dedicated their lives to Jazz. Players who can swing, have full access to harmony, can play with feeling and tone and accuracy... Hendrox was popular by virtue of tie dye shirts, hippie culture and the marketing machine that chose to promote him, not skill. Yes, people conflate his shaggy hair and necklaces and drug abuse with musical skill, but that's about a generation being sold a load of bullshit. Furthermore, statements like "Jimi was as goood as Coltrane" is a huge insult to Coltrane and to the people who created and built the idiom, and that's on the record: Most Jazz players dispized the rise of brittish invasion schlock. They saw if for what it was: The dumming down of the American ear.
The fact is, there's no comparison between a basic blues player and a Jazz player who has full access to their instrument. One encompasses all of music, the other doesn't even scratch the surface. Again, "but I like it!!" is another conversation.
@@templetonknee2146 Thanks for that. I wasn't 100% sure that Hendrix got the chord from Miles Davis. I heard it as a rumour but it was incorrect.
The following expression evaluates to false (jazz > math).
In other words, no, jazz is not superior to math.
In fact, you can't define a function that could compare them because they are not the same kind of a thing.
Both require intelligence and creativity but with different ratios.
The STEM fields are more towards intelligence and jazz towards creativity.
Even non musicians, who are in the STEM fields, can very easily figure out harmony and what notes you can use where.
You can do it with combinatorics, its not that hard. The hard part is being creative with it. There is no formula to being melodic.
As a software engineer and a musician, i can sometimes be astonished how clever musicians think they are.
The amount of complexity and sophistication of thinking i've seen in programming/math do not exist in music.
That is interesting! When I started at the university I thought I would major in computer science, but it quickly became clear that the students who were busy with that for some reason had no sense of humor, so in that respect, Math > Computer Science.
I once taught Guitar / Berklee Theory for five years to a Nuclear Physicist (who was Manager here in Melbourne - and later on in Chicago and New York USA for five years each at Synchrotrons / Nuclear Particle Accelerators). He was surprised at how hard it was to learn REAL Music. I also taught a PhD in Chemistry (for three years). He found Music / Guitar extremely difficult - and struggled. Another past student of mine read Classical Guitar for three years. He got an A+ for Grade Three Classical Guitar. He was a Computer Programmer. He was self taught. He was so clever, he found Computer Science at Uni boring - so he dropped out. He's still a Consultant for large Corporate Firms to this day. He found Music / Guitar very difficult too. They all found Music very difficult. I read Music Composition / Schenkerian Analysis (Major) and Physics (minor) toward my admission to a BA. I can tell you first hand. They are both difficult. As to which is superior ? Who cares ? The Nuclear Physicist tells me I'm a Genius.
@@JensLarsen Really? That is surprising. I had the opposite experience. Math is amazing, don't get me wrong. However, it exists in an imaginary world where nothing outside of your own mistakes can trip you. As soon as you have to write your ideas on the machine, to be executed, you quickly find out things are not the way you thought. You have to deal with global state, cpu cache, branch predictor, hardware bugs, firmware bugs, library bugs and all the books about time complexity analysis go out the window.
@@kevindonnelly761 Yea, there is something to that but it is circumstantial. There are factors like talent, real desire to learn it and actual mental capacity they had after a hard day's work. But generally, i agree with you to some extent. There is an overlap between science and music. Bach used certain algorithms to generate music. And he used to write with his own kind of scripting language that had additional symbols. Why i chose to stop being a practicing musician is partially that music is subjective. You might work on a great piece of music and some schmuck who doesn't know a god damn thing can tell you it sucks and you can't prove otherwise. In computer science, i can prove who is right and who is wrong.
@@user-ov5nd1fb7s Check out the Harmonic Series.