For anyone who wants to get even more out of this, I suggest you try comping behind him while he plays. Hearing the reference harmony will change how you perceive what he's playing. He plays some extraordinarily beautiful lines in this solo when you hear it in context with the original harmony. Without the reference, it's very difficult to keep track of what's happening and all the beautiful stuff he's playing top of it. The fact that he can do that, while keeping track of the harmony in his head, executing these kinds of lines demonstrates how much of a world-class player he is.
All the people commenting how it sounds so pedantic and scholarly; One: Did you miss the fact this is a master class? did you miss the opening question asking about "shifting key centers" on this tune? He is attempting to demonstrate some of these ideas. This isn't him pouring his heart out musically, he is conducting a master class, not the same as a performance. And he is absolutely nailing it. Two: have you ever seen Adam perform live? He is a truly soulful musician. It seems most of the comments on here are 100% completely oblivious of the context and also have seen and heard little of Adam playing outside this video. So many jive comments on here.
Exactly. Context is everything. And the fact that he can switch between right and left brained approaches to playing (or between emotional and academic playing) so fluently just makes him that much more of a badass musician. True masters can play from the head AND the heart with equal conviction.
What a remarkable player! And yes, you can clearly hear where he is in the form at all times. He's taking his time and developing his ideas. Tal Farlow's version turned me onto this song, and you can hear that Adam is clearly one of the leading improvising guitarists of his generation. All ideas and no shopworn licks.
Coming here again three years after discovering this amazing guitarist giving an wonderful version of hav u met miss jones. His solo was in my head since
I'd like to point out - the description of this video "playing a solo over chord changes" misses the point. I bet he's focusing on playing the notes of the chord - but there's less thinking to this than meets the eye. He doesn't have to know everything -- he just has to know more than you. And unless you watch every thing he does and break it down with someone who knows jazz basics you're never going to figure it out. The right hand part is just as important. I was in a guitar store and heard some fantastic playing- for some reason nobody else noticed it. It was some guy playing with no one else around. I went up and watched for a while and then we talked as we walked in nyc. I didn't know who he was, but man was he great. I came home and looked him up. It was Adam Rogers.
Thank you so much for sharing the transcription of this monster-impro by Adam Rogers! I've just started to take a look at it, and only on the first page I find so much information... A lot of hip things to learn! Keep up the good work Poparad! Cheers mate :)
It's really amazing how ignorant some of these comments are. There is no right or wrong way to improvise. Whether something is emotional or not is subjective. Come on y'all!
Man, his time is crazy. Anyone tried to put at metronome with his playing? He sound so solid. His tone is very cool as well. It sometimes sound lika trombone, both tonewise and his phrases. Anyone thought of that? 3:43 and forward :) Best, Sandemose
Please consider that this is a clip from a clinic - context is important. Check out other examples of his playing to get a more balanced idea of what he's about. Check out a version of Michael Brecker doing Autumn Leaves live here on TH-cam with AR as a sideman - plenty of fire.
skratchtat, Almost any solo could be characterized as being "arpeggios and scale fragments". AR is doing much more than auto-pilot change running - he is making melodies. He is developing motives. This is not my opinion - there is an audio / video record of it. Remember what he is doing - he is playing similarly to how he would in a quartet setting, meaning clearly outlining every change is not necessary, as it *might* be during solo work. Again, context is important - a clinic.
@MaScotheneyfield I'm hearing the changes pretty clearly. He's just not playing the shit that everyone else does over major 3rd progressions so I can see how it doesn't seem as obvious at first.
@ShiffronLandren Comp along with his playing (if you're capable) and then tell us he's not playing the changes. Or analyze the transcription (if you're capable) and then tell us he's not playing the changes. This is a demonstration of moving key centers around, which is clearly stated in the beginning. The only bullshit here is your comment.
I think it's important to realize that the stuff that AR is playing here is *not* in a normal performance context, i.e., there is not audible harmonic underpinning for the ear to use as a reference, hence why some folks aren't hearing the changes. Additionally, more modern jazz players aren't going to explicitly continuously outline the changes as was done in the swing era and pre-bop / be-bop. I regularly shed this tune and I have no problem knowing where is in the form. I
@ShiffronLandren he is playing the changes... play the changes along w what he is playing its perfect.. al lot the concepts he is using which you refer to as bullshit are all coltrane and mccoy tyners influence... i think its safe to say they werent bullshitting either. it is jazz. it is blues and swing and all that great stuff jazz has always been just brought to a new level.
Shiff... Adam is definitely playing the changes. If you're expecting bop lines, sorry: this isn't 1957. Haven't you ever checked out Lennie Tristano's school of linear ideas? Late '40s, son, and it sounds a lot like this. Check out Tristano's "Line Up" and take a guess at the standard he's playing over.
Adam Rogers is amazing and a real inspiration to any guitarist, any musician. I've been playing guitar for a long time but Jazz has been inacessible to me. I love it, and can play all the heads in the fake book, but I can't "hear" to improvise .. Help!!
no disrespect to A.R.he is a great player,and i agree with you,he sounds excellent in other contexts,my gripe is with players who play mostly for other musicians(overly technical)this is a problem with jazz musicians alienating the audience,ive seen it again and again,just running though arpeggios and scale fragments with altered extensions,the other musicians in the band may get it,but the audience hears contrasts.i think A.R.s playing could be even better with more emphasis on contrasts
Much agreed sheetsofsound... people need to listen to the music and disect IT as opposed to the mechanics. Tonality is what separates an individuals voices in contrast with another. Although it is important in "creating" your voice, being comfortable is more important.
I see there is some comments on the Benson-style picking. To get a good description of this, I would recommend checking out Tuck Andress´ article on his website. He describes the mechanics of it very thoroughly. Great clip of AR btw!
@Poparad Thanks for the transcription! I think I can see what MaScotheneyfield is saying, however... Ada,m chose to do some complicated stuff, but usually with a single instrument, you'd want to highlight the chord changes by staying true to the 3rd. He sometimes ignores the 3 altogether or gives it a different quality than is harmonically indicated. I think AR did it on purpose, sure, but I also can understand why someone would say that he's abandoning the "tune" for his own purposes... My $.02
@MaScotheneyfield: What bootleg are you talking about, the All The Things One? Keep in mind that tune is lots more mathematical in its changes than HYMMJ, he's doing a lot of repeated figures there (but then in a way that's beyond whatever us mere mortals could ever dream up)
Too many great player hold the pick in totally different ways so there is no one "correct" way. However, the Benson/Rogers technique is particularly useful for heavier gauge strings because you can hit the lower strings hard to get a nice fat sound. Keep the right index finger almost straight and hold the pick at a 90 degree angle to the string. To do this you will have to tilt your right forearm from the elbow so that your palm is almost facing you. Hope that makes sense.
This is great! Adam Rogers is one of my favorite guitarist but is anyone else having a hard time hearing the changes to HYMMJ? Even if he is changing keys which i don't think he is, its not there. Be interestinng to transcribe to see what he's really diving into.
@Poparad Hi Poparad !!! Thanx a lot to allowed us to get in touch with such amazing art music !! Could it be possible to get the transcription you did in other format than PDF .sib for example? So amazing playing, I do love the way Adam Rogers plays !!
@Poparad Hi Poparad !!! Thanx a lot to allowed us to get in touch with such amazing art music !! Could it be possible to get the transcription you did in other format than PDF ? So amazing playing, I do love the way Adam Rogers plays !!
the GB picking style helps for some and not others. Its fairly common for jazz guitar players. Henry Johnson said GB told him that was the trick to playing really uptempo stuff . Disregarding this specific genre the fastest pickers ive seen dont use this technique so thats another way to look at it. Personally i dont really look at jazz guitarists as pioneers in technique b/c its usually more oriented around the lines, etc. I could be wrong. you want crazy technique check out guthrie govan lol!
@Poparad Hello Jemery Poparad. Very nice transcriptions on your site :) If i understood everything you said about this "changing key centers" thing is that Adam is superimposing the key of the tritone sub over the normal changes ?
Very helpfu! I'm trying this out after seeing Benson ( and Santana, Broom etc) use it for years. If i'm doing it correctly , then my downstrokes will be 'cutting' the string on the right side of the pick? And upstrokes will be slightly on the pick's left side. Seems like the only way it works. Thanks for some feedback...
Hey @poparad can you share the sibelius version of this transcription? Thank you for taking the time for transcribing this... as you can see, more than 82k visits means we appreciate your contribution.
At the end of m.13 he's in B major and stays there until m.17 when he goes back inside on the Bbmaj7 chord. It's basically playing up a half step from the upcoming key change at the bridge. Then, at the bridge that follows he plays the changes but displaces when he switches keys so it's not always lined up with the bar lines.
I understand the whole "Jazz student" thing were you gotta have all the bases covered, dotting all your "i's" and crossing "t's" but when are we going to get back to just listening and ENJOYING? Just a thought.
@Bratschenator run and listen to red mitchell INDEED!!! I saw Sonny Rollins and Jim Hall in Vermont this summer a reunion that took 50 years! I lost it during "My One and Other Love" I had to leave my seat for I was afraid I was ruining the show for others around me. I'm guessing you would love my late mentor Claude Sifferlen. There is a small sample of a documentary about him on youtube as well as a few clips of him playing the clubs around Indianapolis.
@phenixdagemini I was writing a long answer, and then just realized how stupid I was, discussing music on youtube.... I really love all kinds of music, as long as the players' styles appeal to me. Scofield's does, and Wes' does. And Adam Jones' of Tool does... Enjoy your music (!!! the guys you mention are truly masters), but don't tell people you have "the answer" or that those not in four favor are bad. It's not an objective thing. And eventually have a good day. (lol yourself)
I like Adam Rogers and It doesn't sound pedantic to me but I can't hear the tune. Listen to Jimmy Raney solo "All the Things You Are" all single notes and you can hear the tune all the way thru!
I can hear the tune. I have to pay attention, because he's not always obviously laying it out there, and his time is loose. But hum it to yourself, or play along, the tune is clearly there.
maybe I need more eart training , cause i barely ear the changes on his impro, can anyone talk about his concept? he is goin free outside with pentatonics or what? I know is not gypsy stylle but a few arpegios would center the lisener.
This is a very intelligent musician AND person, no matter of doubt, there are enough interviews available on TH-cam to confirm my statement. However, I can’t understand why does he insist keeping up with a “mushy-soo dark” tone using this 335. And it doesn’t happen when he uses a strat or Les Paul. This video captures one of the most beautiful tones he ever played. Probably because we’re hearing reverb from the room, the “unplugged” tone of the instrument...well, it’s just an opinion.
Yeah, on his albums it tends to be way too dark and unclear for my tastes, but when I've heard him play live, there's that something extra that makes his tone sound much more alive. I've noticed this on some live bootlegs, too. There are two shows in particular that you can find circulating online of Adam with Michael Brecker: April 18 and April 19, 2000, at the Dakota Bar. Absolutely mind blowing playing and his tone sounds really great there.
freedzable, I am truly offended by the way you speak of my friend Jack Zucker. He is not only a wonderful person but a master gutarist. I mean that in every sense of the word.. We have played together on many ocasions and it has always nothing but a joyful experience and pure honest music. I would appreciate you not speaking about someone who plays like no other with such derogatory language. I would love to hear you play. Any sites that I could do that? Please let me know. . Peace, Teddy
@Poparad adam is playing with some intense theories for sure, but i have to say saffron lantern is right about throwing concept and the blues out the window. I know that's whats happening because all my old jazz teachers all complaining about this kind of playing. It's definitely a style born from jazz but is it the real deal, swing time jazz jazz?
@phenixdagemini Dude, you can listen to whatever you want, man. Why should there be anything wrong with the newer guys? Jazz is always evolving. You can listen to all that ol' jazz you like (I do too) but don't neglect the modern ones. Jazz isn't about playing like Wes. Wes played like Wes.
He sure is making the changes but without the chords behind nobody really grasps the direction specially if you don't know the changes or never heard the tune or you are not a musician. Conclusion: harmony will colour music!
Everything has to do with everything else. Technique, sound, lines, phrasing et al are all part of the same "proceedure". Alter one and the other aspects change.
It sounds like you are keeping your right hand and forearm parallel to the strings, like most guitar players. Don't use a "cutting" angle. Anchor your right pinky on the pick guard and, with your index finger almost straight, pick with a "normal" pick angle on the 6th string. Your hand and forearm should no longer be parallel to the strings but facing you, I believe Benson also uses the rounded corner of the pick, with the sharpest angle pointing away from the guitar. Fatter sound.
please though, for future haters of this remark, understand, i'm not assailing his feel, chops or language! it is just an observation as a jazz guitarist/educator that this is a very unorthodox way of coming at the strings! almost like trying to cross your legs while driving so that your left foot can get at the gas pedal!
He's using what's commonly called "Benson picking". A lot of great guitarists play like this nowadays, Russell Malone and Rodney Jones being two who spring to mind right off the bat. Tuck Andress wrote a treatise on picking techniques a while ago in which he said Benson's approach may be the most efficient and least physically stressful way to play fast single note lines. I don't use this technique, but a lot of great modern players do.
always have to wonder why great guitar players saddle themselves with such unorthodox picking techniques! Metheny I can understand, he grew up in small town missouri with nothing but records to learn from and like he has said, the only picks that were available were the larger triangular thin ones and he developed his technique in service to making those picks sound good! when a guy like this, obviously great, shows up with a picking hand that looks arthritic and counterintuitive it boggles me!
I love Tafarlow's and Charlie Mingus' version!!! ...However, I think that I like old Joe Pass' solo version a little more. As for this video, I'm ripping it and saving it (lest it disappear) for a time when my jazz chops have improved to the point where I can put it to use.
Alright people, the problem with Adam's playing here is that he's playing through the changes, but he's not making the changes known. Guitarist used to playing solo know how to play so that you understand the outlines of the chords. It might just be me, but with all Roger's chromaticism you don't clearly get the changes for the majority of the solo. He's not playing it wrong, but he's playing it wrong.
For anyone who wants to get even more out of this, I suggest you try comping behind him while he plays. Hearing the reference harmony will change how you perceive what he's playing. He plays some extraordinarily beautiful lines in this solo when you hear it in context with the original harmony. Without the reference, it's very difficult to keep track of what's happening and all the beautiful stuff he's playing top of it.
The fact that he can do that, while keeping track of the harmony in his head, executing these kinds of lines demonstrates how much of a world-class player he is.
All the people commenting how it sounds so pedantic and scholarly; One: Did you miss the fact this is a master class? did you miss the opening question asking about "shifting key centers" on this tune? He is attempting to demonstrate some of these ideas. This isn't him pouring his heart out musically, he is conducting a master class, not the same as a performance. And he is absolutely nailing it. Two: have you ever seen Adam perform live? He is a truly soulful musician. It seems most of the comments on here are 100% completely oblivious of the context and also have seen and heard little of Adam playing outside this video. So many jive comments on here.
Seriously. These people are morons. Thank you.
They don't call them "the ignorant masses" for nothing Doc.
Exactly. Context is everything. And the fact that he can switch between right and left brained approaches to playing (or between emotional and academic playing) so fluently just makes him that much more of a badass musician. True masters can play from the head AND the heart with equal conviction.
hey everyone, i want to play like this w/o metronome or backing track during my practice. How can i get started?
Couldn't agree more - well said.
My favorite guitar player ever.
for all of those who don't get it, "SOUL" is all over in this solo, in every note
I love this. There's nowhere to hide. Just the artist and his art.
HIs sound massages my brain. I could listen to that all day.
What a remarkable player! And yes, you can clearly hear where he is in the form at all times. He's taking his time and developing his ideas. Tal Farlow's version turned me onto this song, and you can hear that Adam is clearly one of the leading improvising guitarists of his generation. All ideas and no shopworn licks.
Coming here again three years after discovering this amazing guitarist giving an wonderful version of hav u met miss jones. His solo was in my head since
Thank you for enlightening us all with your negativity.
@@Poparad awful means great
Awful means terrible. Did you mean "awesome?"
Awful used to mean what awesome means now. Similarly, in the US, flavorful means what flavoursome does in the UK.
I'd like to point out - the description of this video "playing a solo over chord changes" misses the point. I bet he's focusing on playing the notes of the chord - but there's less thinking to this than meets the eye. He doesn't have to know everything -- he just has to know more than you. And unless you watch every thing he does and break it down with someone who knows jazz basics you're never going to figure it out. The right hand part is just as important.
I was in a guitar store and heard some fantastic playing- for some reason nobody else noticed it. It was some guy playing with no one else around. I went up and watched for a while and then we talked as we walked in nyc. I didn't know who he was, but man was he great. I came home and looked him up. It was Adam Rogers.
Adam Rogers , the real deal 🙌🏻
It's amazing - to me - that this has inspired such HEATED debate.
On a Rogers kick again, so of course found this video. He is really something.
Thank you so much for sharing the transcription of this monster-impro by Adam Rogers! I've just started to take a look at it, and only on the first page I find so much information... A lot of hip things to learn! Keep up the good work Poparad!
Cheers mate :)
Thanks for the transcription, what a fantastic work !
I think i will spend very much time on this !
Great stuff Jeremy! More! More!
It's really amazing how ignorant some of these comments are. There is no right or wrong way to improvise. Whether something is emotional or not is subjective. Come on y'all!
beautiful, musical playing...
great video! and extra props for putting up a transcription that is too cool
Man, his time is crazy. Anyone tried to put at metronome with his playing? He sound so solid. His tone is very cool as well. It sometimes sound lika trombone, both tonewise and his phrases. Anyone thought of that? 3:43 and forward :)
Best, Sandemose
Please consider that this is a clip from a clinic - context is important. Check out other examples of his playing to get a more balanced idea of what he's about. Check out a version of Michael Brecker doing Autumn Leaves live here on TH-cam with AR as a sideman - plenty of fire.
skratchtat, Almost any solo could be characterized as being "arpeggios and scale fragments". AR is doing much more than auto-pilot change running - he is making melodies. He is developing motives. This is not my opinion - there is an audio / video record of it. Remember what he is doing - he is playing similarly to how he would in a quartet setting, meaning clearly outlining every change is not necessary, as it *might* be during solo work. Again, context is important - a clinic.
So clean
So cold.
Adam is so cool ... he's like James Bond with a guitar!
cool... thanks a ton for posting the transcription!
@MaScotheneyfield I'm hearing the changes pretty clearly. He's just not playing the shit that everyone else does over major 3rd progressions so I can see how it doesn't seem as obvious at first.
@ShiffronLandren Comp along with his playing (if you're capable) and then tell us he's not playing the changes. Or analyze the transcription (if you're capable) and then tell us he's not playing the changes. This is a demonstration of moving key centers around, which is clearly stated in the beginning. The only bullshit here is your comment.
fabulous!
Adam plays so clean...it's not even funny...AWESOME musician
I think it's important to realize that the stuff that AR is playing here is *not* in a normal performance context, i.e., there is not audible harmonic underpinning for the ear to use as a reference, hence why some folks aren't hearing the changes. Additionally, more modern jazz players aren't going to explicitly continuously outline the changes as was done in the swing era and pre-bop / be-bop. I regularly shed this tune and I have no problem knowing where is in the form. I
@ShiffronLandren he is playing the changes... play the changes along w what he is playing its perfect.. al lot the concepts he is using which you refer to as bullshit are all coltrane and mccoy tyners influence... i think its safe to say they werent bullshitting either. it is jazz. it is blues and swing and all that great stuff jazz has always been just brought to a new level.
Shiff... Adam is definitely playing the changes. If you're expecting bop lines, sorry: this isn't 1957. Haven't you ever checked out Lennie Tristano's school of linear ideas? Late '40s, son, and it sounds a lot like this. Check out Tristano's "Line Up" and take a guess at the standard he's playing over.
WOW it's AWESOME!!!
Adam Rogers is amazing and a real inspiration to any guitarist, any musician. I've been playing guitar for a long time but Jazz has been inacessible to me. I love it, and can play all the heads in the fake book, but I can't "hear" to improvise .. Help!!
great ! and thanks for the transcription !
Thanks so much for the transcription! WOw perfect
no disrespect to A.R.he is a great player,and i agree with you,he sounds excellent in other contexts,my gripe is with players who play mostly for other musicians(overly technical)this is a problem with jazz musicians alienating the audience,ive seen it again and again,just running though arpeggios and scale fragments with altered extensions,the other musicians in the band may get it,but the audience hears contrasts.i think A.R.s playing could be even better with more emphasis on contrasts
Much agreed sheetsofsound... people need to listen to the music and disect IT as opposed to the mechanics. Tonality is what separates an individuals voices in contrast with another. Although it is important in "creating" your voice, being comfortable is more important.
Increible!! este tio es el mejor!!
@MaScotheneyfield Well, keep in mind what the songs are: Potter played "All The Things You Are." Not as difficult as this song here.
I see there is some comments on the Benson-style picking. To get a good description of this, I would recommend checking out Tuck Andress´ article on his website. He describes the mechanics of it very thoroughly. Great clip of AR btw!
@Poparad Please do Gent ! Many thanks.
thanks for posting
@Poparad Thanks for the transcription! I think I can see what MaScotheneyfield is saying, however... Ada,m chose to do some complicated stuff, but usually with a single instrument, you'd want to highlight the chord changes by staying true to the 3rd. He sometimes ignores the 3 altogether or gives it a different quality than is harmonically indicated. I think AR did it on purpose, sure, but I also can understand why someone would say that he's abandoning the "tune" for his own purposes... My $.02
than,s for the transcriptions! check out julian lage transcriptions if you get bored.
@MaScotheneyfield: What bootleg are you talking about, the All The Things One? Keep in mind that tune is lots more mathematical in its changes than HYMMJ, he's doing a lot of repeated figures there (but then in a way that's beyond whatever us mere mortals could ever dream up)
Its the older brother from fast times at ridgemont high
Hey thanks missed the trans. link that you allueded to before. I hear it now. Visual helped.
Smokin'!
Too many great player hold the pick in totally different ways so there is no one "correct" way. However, the Benson/Rogers technique is particularly useful for heavier gauge strings because you can hit the lower strings hard to get a nice fat sound. Keep the right index finger almost straight and hold the pick at a 90 degree angle to the string. To do this you will have to tilt your right forearm from the elbow so that your palm is almost facing you. Hope that makes sense.
This is great! Adam Rogers is one of my favorite guitarist but is anyone else having a hard time hearing the changes to HYMMJ? Even if he is changing keys which i don't think he is, its not there. Be interestinng to transcribe to see what he's really diving into.
It does get unclear for me too but really sparingly, he comes right back to the tune pretty much immediately after going there
@Poparad
Hi Poparad !!!
Thanx a lot to allowed us to get in touch with such amazing art music !!
Could it be possible to get the transcription you did in other format than PDF .sib for example?
So amazing playing, I do love the way Adam Rogers plays !!
es un genio
@Poparad
Hi Poparad !!!
Thanx a lot to allowed us to get in touch with such amazing art music !!
Could it be possible to get the transcription you did in other format than PDF ?
So amazing playing, I do love the way Adam Rogers plays !!
Swing is everywere except near you...
Sandemose
the GB picking style helps for some and not others. Its fairly common for jazz guitar players. Henry Johnson said GB told him that was the trick to playing really uptempo stuff . Disregarding this specific genre the fastest pickers ive seen dont use this technique so thats another way to look at it. Personally i dont really look at jazz guitarists as pioneers in technique b/c its usually more oriented around the lines, etc. I could be wrong. you want crazy technique check out guthrie govan lol!
Oh ok ! Thats Cool, ill practice that :)
Thanks,
Great web site btw, keep the transcriptions coming :P
@Poparad Hello Jemery Poparad. Very nice transcriptions on your site :) If i understood everything you said about this "changing key centers" thing is that Adam is superimposing the key of the tritone sub over the normal changes ?
Very helpfu!
I'm trying this out after seeing Benson ( and Santana, Broom etc) use it for years.
If i'm doing it correctly , then my downstrokes will be 'cutting' the string on the right side of the pick?
And upstrokes will be slightly on the pick's left side.
Seems like the only way it works.
Thanks for some feedback...
Oh, yes!
YES !!!!!
Hey @poparad can you share the sibelius version of this transcription? Thank you for taking the time for transcribing this... as you can see, more than 82k visits means we appreciate your contribution.
IMO, Adam needs to play standards more often!
has anyone worked out the substitutions he's using over this? If you have, can you tell me please!?
At the end of m.13 he's in B major and stays there until m.17 when he goes back inside on the Bbmaj7 chord. It's basically playing up a half step from the upcoming key change at the bridge. Then, at the bridge that follows he plays the changes but displaces when he switches keys so it's not always lined up with the bar lines.
Nice. Would like to do that on my barisax
hey everyone, i want to play like this w/o metronome or backing track during my practice. How can i get started?
I understand the whole "Jazz student" thing were you gotta have all the bases covered, dotting all your "i's" and crossing "t's" but when are we going to get back to just listening and ENJOYING? Just a thought.
He looks alot like Judge Reinhold
@Bratschenator run and listen to red mitchell INDEED!!! I saw Sonny Rollins and Jim Hall in Vermont this summer a reunion that took 50 years! I lost it during "My One and Other Love" I had to leave my seat for I was afraid I was ruining the show for others around me. I'm guessing you would love my late mentor Claude Sifferlen. There is a small sample of a documentary about him on youtube as well as a few clips of him playing the clubs around Indianapolis.
shazaaaamm that was burning.
🙏🎸
@phenixdagemini I was writing a long answer, and then just realized how stupid I was, discussing music on youtube.... I really love all kinds of music, as long as the players' styles appeal to me. Scofield's does, and Wes' does. And Adam Jones' of Tool does... Enjoy your music (!!! the guys you mention are truly masters), but don't tell people you have "the answer" or that those not in four favor are bad. It's not an objective thing. And eventually have a good day. (lol yourself)
He's playin like 240bpm. What are you talking about?!?!
How can I check the Transcription. Just curious and thanks for mentioning it.
weedlee weedlee weedlee wooop !
@ShiffronLandren its not much out. Just because you cant follow what he plays , agrre fully with poparad here, ur way out...clueless even.
I like Adam Rogers and It doesn't sound pedantic to me but I can't hear the tune. Listen to Jimmy Raney solo "All the Things You Are" all single notes and you can hear the tune all the way thru!
I can hear the tune. I have to pay attention, because he's not always obviously laying it out there, and his time is loose. But hum it to yourself, or play along, the tune is clearly there.
maybe I need more eart training , cause i barely ear the changes on his impro, can anyone talk about his concept? he is goin free outside with pentatonics or what? I know is not gypsy stylle but a few arpegios would center the lisener.
지리고 갑니다..
This is a very intelligent musician AND person, no matter of doubt, there are enough interviews available on TH-cam to confirm my statement. However, I can’t understand why does he insist keeping up with a “mushy-soo dark” tone using this 335. And it doesn’t happen when he uses a strat or Les Paul. This video captures one of the most beautiful tones he ever played. Probably because we’re hearing reverb from the room, the “unplugged” tone of the instrument...well, it’s just an opinion.
Yeah, on his albums it tends to be way too dark and unclear for my tastes, but when I've heard him play live, there's that something extra that makes his tone sound much more alive. I've noticed this on some live bootlegs, too. There are two shows in particular that you can find circulating online of Adam with Michael Brecker: April 18 and April 19, 2000, at the Dakota Bar. Absolutely mind blowing playing and his tone sounds really great there.
@phenixdagemini ......Search ....Pat Metheny Lesson Part II....since i can't post the link???!!!!
Hmmm, good thought.
I don't think you have any idea what kind of rhythmic ideas going on Bobo even though you "learned" the solo.
Id swear these were flstwound strings, but apparently he uses roundwound 13-49 =/
freedzable,
I am truly offended by the way you speak of my friend Jack Zucker. He is not only a wonderful person but a master gutarist. I mean that in every sense of the word.. We have played together on many ocasions and it has always nothing but a joyful experience and pure honest music.
I would appreciate you not speaking about someone who plays like no other with such derogatory language. I would love to hear you play. Any sites that I could do that? Please let me know.
. Peace, Teddy
@Poparad adam is playing with some intense theories for sure, but i have to say saffron lantern is right about throwing concept and the blues out the window. I know that's whats happening because all my old jazz teachers all complaining about this kind of playing. It's definitely a style born from jazz but is it the real deal, swing time jazz jazz?
what are those 5s and 7s ?
@phenixdagemini Dude, you can listen to whatever you want, man. Why should there be anything wrong with the newer guys? Jazz is always evolving. You can listen to all that ol' jazz you like (I do too) but don't neglect the modern ones. Jazz isn't about playing like Wes. Wes played like Wes.
0:21
He sure is making the changes but without the chords behind nobody really grasps the direction specially if you don't know the changes or never heard the tune or you are not a musician. Conclusion: harmony will colour music!
Everything has to do with everything else. Technique, sound, lines, phrasing et al are all part of the same "proceedure". Alter one and the other aspects change.
It sounds like you are keeping your right hand and forearm parallel to the strings, like most guitar players. Don't use a "cutting" angle. Anchor your right pinky on the pick guard and, with your index finger almost straight, pick with a "normal" pick angle on the 6th string. Your hand and forearm should no longer be parallel to the strings but facing you, I believe Benson also uses the rounded corner of the pick, with the sharpest angle pointing away from the guitar. Fatter sound.
souds is great........
is there any feel in this? or is he just running up and down different scales? x)
would you say the same to Coltrane solo on Giant steps?
Taesung Yu I definently found that one more interesting
Define 'feel'.
NaturesGesture Emotional content. Do you speak English?
Define "scales".
S M O K I N' ! ! !
please though, for future haters of this remark, understand, i'm not assailing his feel, chops or language! it is just an observation as a jazz guitarist/educator that this is a very unorthodox way of coming at the strings! almost like trying to cross your legs while driving so that your left foot can get at the gas pedal!
He's using what's commonly called "Benson picking". A lot of great guitarists play like this nowadays, Russell Malone and Rodney Jones being two who spring to mind right off the bat. Tuck Andress wrote a treatise on picking techniques a while ago in which he said Benson's approach may be the most efficient and least physically stressful way to play fast single note lines. I don't use this technique, but a lot of great modern players do.
Does anyone wonder about the intent of the composer.
always have to wonder why great guitar players saddle themselves with such unorthodox picking techniques! Metheny I can understand, he grew up in small town missouri with nothing but records to learn from and like he has said, the only picks that were available were the larger triangular thin ones and he developed his technique in service to making those picks sound good!
when a guy like this, obviously great, shows up with a picking hand that looks arthritic and counterintuitive it boggles me!
I love Tafarlow's and Charlie Mingus' version!!!
...However, I think that I like old Joe Pass' solo version a little more.
As for this video, I'm ripping it and saving it (lest it disappear) for a time when my jazz chops have improved to the point where I can put it to use.
beautiful noodling.
Alright people, the problem with Adam's playing here is that he's playing through the changes, but he's not making the changes known. Guitarist used to playing solo know how to play so that you understand the outlines of the chords. It might just be me, but with all Roger's chromaticism you don't clearly get the changes for the majority of the solo. He's not playing it wrong, but he's playing it wrong.