legend and true virtuoso of our time can't count how many times i keep coming back and hitrepeat button , Imagine how those ppl in 18th century who were able to watch mozart live this must be same feeling....
Kurt is a great present for the moder jazz guitar world, nice to see how the jazz guitar sound evolved since Wes, Smith, Pat Martino, Pass, Benson, Metheny.. till Philip Catherine. The mood is reached, now jazz can make people even fly. Thank you for sharing
I saw him for the first time at Chicag's Jazz Showcase yesterday in a trio setting. My jaw is still dragging on the floor. He did not use many effects and played straight ahead jazz. I can't remember being blown away like that since seeing Mahavishnu or Alan Holdsworth for the first time back in the 1970's. He is incredible!
Kurt's playing displays a combination of two traits rarely found together in contemporary jazz: a highly virtuosic approach to the contour and content of his lines, as well as a keen ability to weave arresting and emotional melodic material into his improvisation. That he is able to incorporate a wide variety of harmonic and melodic ideas from both jazz and western classical music - all while keeping his melodic lines sensitive and organic - should inspire musicians at every level and style.
this guy is amazing and i try to play this song and get farther in it everyday, this is probably the only artist in jazz that i enjoy listening to by choice
Kurt doesn't really play that much outside, especially on his own tunes (he did write this one btw).It may sound that way sometimes, but that's usually just because the way he writes harmonies is pretty special which calls for special scales and different ways to connect the chords. This is a basic minor blues with a few extra changes, I think before he switches to Ab minor he plays a Amaj7, and on the last part instead of going to a straight Dominant he plays H7sus4 2 bars, Amaj7 and Am7 1 bar.
Yes! You're right man! I've got his composition book and have learned alot from the transcribed solos. Man it'd be killer to talk to this guy. On whether or not this is instructional, well it is if you study the way he plays, transcribe,and listen to how he cuts the changes. Its the best way to learn because for me when i do that its also inspiring.
I'm really happy to get a real reply. Dude, much thanks! All I was saying is that Kurt is just dealing in basic chordal stuff. Yes it minor blues. But the lines are from the basics plus some knowledge of the bebop idiom. Check out the clip from the Italy seminar. Most of Kurt's solos make total sense theory wise. I was just saying it's not some crazy outside shit but his sound and how he put's it to use. But mainly it's his sound. The East Coast Love Affair record is the core of is solo ideas.
I really love how the tune kind of breathes the same air as Footprints! Amazing guitarist. Saw him in October with his standards trio. My jaw is still dragging (as another user put it)!
Isnt it about time that Kurt finishes his method book and put out a instructional video about jazz guitar? It would sell like butter :) Best regards, Sandemose
Hi, there is a clip on artistshare were he goes through his pedalboard and set up. I remember the RAT pedal from long ago, but I think (only think) that he talked about Xotic pedals (booster, overdrive? dont know...). I guess he switches from time to time though. Best and warm regards, Sandemose
I would suggest "the Remedy". Its a live album from Village Vanguard. Its a double CD, can be downloaded via artistshare. Really long solos, long tunes, great energy within the band. Kurt plays SO brutal on that record (much with distortion) its not even funny. Another great record were he uses distortion is Heartcore, but I would go for "the Remedy" to start with. Best, Sandemose
@adamneikirk Here's what i have thought about. The things that were being played in the bop era were a lot of arpeggios and 2-5-1s. And even before that, there was classical music that was just all modal. So really this era I think is sometimes the most expressive because of the limits they take that stuff to and doing it in odd meters.
You can start listening to "East coast Love affair". Kurt plays with a clean tone and tears everything in sight appart...the biggest problem is that he is like 25 on that record. I think his playing on that record is revolutionary. Regarding the "gain" thing: the reason you cant hear any flaws is because there hardly are any ones...ever thought of that? Regarding Rogers: he is a monster, a freak of nature, but he is not such a beutiful beast as Kurt. Also thing Kurt is a better composer...Best
yea i know it is nice to find real jazz guys haha. guys do any of you have some transcriptions or original written out solos? im working on writing out some solos, like my own, but sometimes it really helps to get some lick and line ideas for easy changes.
Georgiaboy you have to right to have your own opinion of course. But I think the approach of remembering the old masters like they have already done everything and the good times have passed is a dangerous idea that will rob you from higher aesthetic and intellectual experiences. The fact is even Wes himself was worried in his days that a young boy named Pat Martino was playing ferociously fast and he might have to work on his thumb more. This explains a lot for me :)
Kurt claimed somewere that he didnt spend that much time transcribing, but what he did had enourmus inpact on his playing. Something of Bill Evans I think, like the solo on My Romance maybe? But still, he probably transcribed more than the rest of us. The best solos to transcribe are the ones you love the most. When you have the notes figured out on the guitarneck and you know it by heart, then its not that hard to write it out on paper. Miles Davis is a good place to start, great phrases/ing
yea but this is a minor blues. ur talking about extra chord subs right? i havnt really sat down and tried to get the chord changes for this by ear, but is this a titled tune??
Yeah, well I wouldnt say that, even if I know where you´re going with it. Sometimes art in it self is the best way to "learn" things. There is a professor in improvisation in Gothenburg here in Sweden called Anders Jormin (bassplayer) who played with DeJonette and Petersen and all those cats, he said: Great art is great pedagogy. All pedagogy is lousy art (my translation is far from the original quote, but somewhat near). But Id love the see and hear Kurt talk about strategies when practicing :)
Id say he plays his tune for the sake of playing beutiful music and being true to the moment. I wouldnt say that this is instructional, but I guess that anything (a painting, a sculpture, dance etc) could be watched as instructional if you put your mind to it. But, for me, if I would classify anything as instructional then it would have to have the purpose of being instructional. Wait, is this a gig or a clinic? :) Still, thanks alot of sharing this moment with Kurt, great clip. Best, Sandemose
thats pretty normal, the old listen and 'check out', meaning grabbing your guitar and getting whats going on by ear. i think hes pretty much done the normal stuff, but times 50 and also done a whole lot of abnormal stuff, he makes you want to get to work
Part II It was later that Kurt went to the shed to get his technic to the point where he could really blast those same principles like a guitar god. But his foundation is the basic stuff. Just basic "jazz" guitar shit and the pentatonics. If you want to talk about his freaky shit...Tell me how the motherfucker runs at that speed with legatto? His articulation is just monster. Adam Rodgers is as fast but Kurt's legatto killing. Dude's a total freak!
ewll, you're all focusing on Kurt, kurt, kurt. I'm a guitarist and yeah I think he's great as a composer and guitarist. Somethings he does in either respect are not necessarily things I would do;ie, I don't like his total approach always. Anyway, back to the point...it's not just about him; it's the whole band that makes that song so cool. In fact, the piano solo was best for me personally
Eskills and Trauma..Where have you guys been hiding. Finally somebody talking who knows something. Much thanks! TH-cam gets serious. This sight could be the shit for jazz players if the dolts would stay in their area. I'm all about "sharing" ideas but sometimes the fuckers on here are just plain silly. As for Kurt apparently he's starting to deal with new scale ideas. If you see any example please post. For the real player! You can play anything as long as it resolves. Dolts, deal with that!
why everybody has to try to emulate Brad Mehldau on the piano. Be inspired by him, but don't copy him. I does not work. Kurt has a genuine own voice(not saying unique). That works
wonderful stuff - when a 'new' (previously unknown to me) guitarist catches my radar, OK that's a lie, but then if you think how so many promises fade to mediocrity, old gods and academia aside (your lauded termites). we who have known good sounds, we know good sounds when we hear them. or is it the inert primal rhythmic horn - who knows? - bloomin' good array tho Kurt ...
its unbelievable that people listen to this and notice something its not as good as. It's not created to be compared, and nor is this the medium to do that in.
That's my point: the golden age (c. 1945-1975) of modern jazz as a cultural and creative force has already come and gone. Will there be talented players in the future, and are there now? Yes, but their achievements will not and cannot supass the masters who came before.... that ground has already been plowed.
Re: "Ok, well I disagree because a. I wouldn't class 1945-1975 as the "golden age" of jazz.." Read my post again; you omitted the word "modern" before the word "jazz." Jazz historians typically separate jazz into eras, i.e. modern jazz - as defined by the advent of bebop - started in the period 1940-45 and ended in the period 1970-75. That's what I meant by the "golden age" description. Re: "So any achievement by any artist is contextual to the style." This is a non sequitur... and means ?
legend and true virtuoso of our time
can't count how many times i keep coming back and hitrepeat button ,
Imagine how those ppl in 18th century who were able to watch mozart live
this must be same feeling....
Kurt is a great present for the moder jazz guitar world, nice to see how the jazz guitar sound evolved since Wes, Smith, Pat Martino, Pass, Benson, Metheny.. till Philip Catherine.
The mood is reached, now jazz can make people even fly.
Thank you for sharing
I saw him for the first time at Chicag's Jazz Showcase yesterday in a trio setting. My jaw is still dragging on the floor. He did not use many effects and played straight ahead jazz. I can't remember being blown away like that since seeing Mahavishnu or Alan Holdsworth for the first time back in the 1970's. He is incredible!
Kurt!!!! this is adorable!!!!!! sooo dreamy, so melodic and never boring scales. Hope to see you live soon.
Kurt's playing displays a combination of two traits rarely found together in contemporary jazz: a highly virtuosic approach to the contour and content of his lines, as well as a keen ability to weave arresting and emotional melodic material into his improvisation. That he is able to incorporate a wide variety of harmonic and melodic ideas from both jazz and western classical music - all while keeping his melodic lines sensitive and organic - should inspire musicians at every level and style.
definetely
this guy is amazing and i try to play this song and get farther in it everyday, this is probably the only artist in jazz that i enjoy listening to by choice
wow a masterpiece filled with time distending micro masterpieces!
INCREDIBLE
wonderful sound! i love it!^^
That opening riff, and that tone are incredible!
this is amazing!
Great guitar player.His own sound that's so destinctive.
this is so amazing!
what a cool cat
cool! great guitarist
music at it's best!!!!
the music of angels played on earth;)
Fabuloso! jsp
Kurt doesn't really play that much outside, especially on his own tunes (he did write this one btw).It may sound that way sometimes, but that's usually just because the way he writes harmonies is pretty special which calls for special scales and different ways to connect the chords. This is a basic minor blues with a few extra changes, I think before he switches to Ab minor he plays a Amaj7, and on the last part instead of going to a straight Dominant he plays H7sus4 2 bars, Amaj7 and Am7 1 bar.
very nice!
Yes! You're right man! I've got his composition book and have learned alot from the transcribed solos. Man it'd be killer to talk to this guy. On whether or not this is instructional, well it is if you study the way he plays, transcribe,and listen to how he cuts the changes. Its the best way to learn because for me when i do that its also inspiring.
I'm really happy to get a real reply. Dude, much thanks! All I was saying is that Kurt is just dealing in basic chordal stuff. Yes it minor blues. But the lines are from the basics plus some knowledge of the bebop idiom. Check out the clip from the Italy seminar. Most of Kurt's solos make total sense theory wise. I was just saying it's not some crazy outside shit but his sound and how he put's it to use. But mainly it's his sound. The East Coast Love Affair record is the core of is solo ideas.
I really love how the tune kind of breathes the same air as Footprints! Amazing guitarist. Saw him in October with his standards trio. My jaw is still dragging (as another user put it)!
Isnt it about time that Kurt finishes his method book and put out a instructional video about jazz guitar? It would sell like butter :) Best regards, Sandemose
WOOOW!!!!
Great player, Kurt. Song reminds me of Shorter's Footprints per structure and melody.
Kurt kills it every time, such an amazing musician to my ear. I love listening to guitar music but I love playing the guitar more.
Hi, there is a clip on artistshare were he goes through his pedalboard and set up. I remember the RAT pedal from long ago, but I think (only think) that he talked about Xotic pedals (booster, overdrive? dont know...). I guess he switches from time to time though. Best and warm regards, Sandemose
Damn, Kurt is the man
Wished I could take the blues this far!!! He's incredible. I'd like to hear him play with someone like Victor Wooten.
genius!
even with that *slighty* dorky tone, i still LOVE this guy!
Jäää dis is so asome
Does anyone know what pedal Kurt turns on when he starts his solo?
That solo was absurd... seriously....
I would suggest "the Remedy". Its a live album from Village Vanguard. Its a double CD, can be downloaded via artistshare. Really long solos, long tunes, great energy within the band. Kurt plays SO brutal on that record (much with distortion) its not even funny. Another great record were he uses distortion is Heartcore, but I would go for "the Remedy" to start with. Best,
Sandemose
Lot of holdsworth on his playing man... crazy and beautifull stuf..
i dont hear any holdsworth at all in his playing.
yeah. and it's good music
@adamneikirk Here's what i have thought about. The things that were being played in the bop era were a lot of arpeggios and 2-5-1s. And even before that, there was classical music that was just all modal. So really this era I think is sometimes the most expressive because of the limits they take that stuff to and doing it in odd meters.
You can start listening to "East coast Love affair". Kurt plays with a clean tone and tears everything in sight appart...the biggest problem is that he is like 25 on that record. I think his playing on that record is revolutionary. Regarding the "gain" thing: the reason you cant hear any flaws is because there hardly are any ones...ever thought of that?
Regarding Rogers: he is a monster, a freak of nature, but he is not such a beutiful beast as Kurt. Also thing Kurt is a better composer...Best
does someone know which guitar is this?
I'm guessing the RAT distortion pedal. He seems to like that one
yea i know it is nice to find real jazz guys haha. guys do any of you have some transcriptions or original written out solos? im working on writing out some solos, like my own, but sometimes it really helps to get some lick and line ideas for easy changes.
Georgiaboy you have to right to have your own opinion of course. But I think the approach of remembering the old masters like they have already done everything and the good times have passed is a dangerous idea that will rob you from higher aesthetic and intellectual experiences. The fact is even Wes himself was worried in his days that a young boy named Pat Martino was playing ferociously fast and he might have to work on his thumb more. This explains a lot for me :)
@curiousnomad Does anyone else hear more of an Ornette Coleman/Mingus thing in what Bieber does, both compositionally and harmonically?
yea man great lines, does anybody know what distortion or amp he uses cuz its a nice distortion.
Okay. That I like.
@acidbug sorry for being so general i was talking about the bass player in the video though
Legato with 13s gauge strings aswell. No Ibanez shred with 09s gauge :)
02:16 - 02:19 that is just fucking insane...
Does anyone know of an album where I can hear Kurt playing like this? Particularly with the distorted tone?
Thanks a lot.
anyone have a transcription of this song that they can upload? that'd be swell.
Kurt claimed somewere that he didnt spend that much time transcribing, but what he did had enourmus inpact on his playing. Something of Bill Evans I think, like the solo on My Romance maybe? But still, he probably transcribed more than the rest of us. The best solos to transcribe are the ones you love the most. When you have the notes figured out on the guitarneck and you know it by heart, then its not that hard to write it out on paper. Miles Davis is a good place to start, great phrases/ing
Believe me, it was!
I wish I didnt miss him when he played in Istanbul
nice distor!
Love it. Like a great fusion player with less tension and less cock. Nice accompaniment by him and the others too.
so is the sadowsky semi hollow guitar recommended?
What distortion box does he use?
yea but this is a minor blues. ur talking about extra chord subs right? i havnt really sat down and tried to get the chord changes for this by ear, but is this a titled tune??
I would have to agree with choaslloyd this is fairly instructional if you listen close enough. Thanks for sharing the video.
erm i know he used to use a Proco Rat distortion pedal, so get one o'them they sound great
i like so much "heartcore (2003)" and "deep song (2005)"
Yeah, well I wouldnt say that, even if I know where you´re going with it. Sometimes art in it self is the best way to "learn" things. There is a professor in improvisation in Gothenburg here in Sweden called Anders Jormin (bassplayer) who played with DeJonette and Petersen and all those cats, he said: Great art is great pedagogy. All pedagogy is lousy art (my translation is far from the original quote, but somewhat near). But Id love the see and hear Kurt talk about strategies when practicing :)
Kurt works really hard. He practices 8 to 10 hours a day sometimes.
Big up's to the hero at 1:11 who was nice enough to shift the sheet music so we can see his right hand haha
isn't this a mccoy tyner song? i swear i played it once..that groove at least is very familiar
@bluessando secondo me é semplicemente jazz
Id say he plays his tune for the sake of playing beutiful music and being true to the moment. I wouldnt say that this is instructional, but I guess that anything (a painting, a sculpture, dance etc) could be watched as instructional if you put your mind to it. But, for me, if I would classify anything as instructional then it would have to have the purpose of being instructional. Wait, is this a gig or a clinic? :) Still, thanks alot of sharing this moment with Kurt, great clip. Best, Sandemose
Why was part of this filmed on top of someones head...?
Who's the guitarist? The description says the pianist, the bassist, and the drummer, but who's playing guitar?
zombie3785 Dave Brubeck my man!
thats pretty normal, the old listen and 'check out', meaning grabbing your guitar and getting whats going on by ear. i think hes pretty much done the normal stuff, but times 50 and also done a whole lot of abnormal stuff, he makes you want to get to work
reminds me of mclaughlins tone from mahavishnu orchestra
Part II
It was later that Kurt went to the shed to get his technic to the point where he could really blast those same principles like a guitar god. But his foundation is the basic stuff. Just basic "jazz" guitar shit and the pentatonics. If you want to talk about his freaky shit...Tell me how the motherfucker runs at that speed with legatto? His articulation is just monster. Adam Rodgers is as fast but Kurt's legatto killing. Dude's a total freak!
Kurt didn't transcribe much. He told me he would figure out his fav.licks by fav. artists, but not entire solos.
season of changes - brian blade
I'm a huge fan of both. But you really think that robert would really be disappointed in kurt's playing?
ewll, you're all focusing on Kurt, kurt, kurt. I'm a guitarist and yeah I think he's great as a composer and guitarist. Somethings he does in either respect are not necessarily things I would do;ie, I don't like his total approach always.
Anyway, back to the point...it's not just about him; it's the whole band that makes that song so cool.
In fact, the piano solo was best for me personally
you get better at guitar by listening to this lol
CaptainSpok wins!
Flawless victory :)
this piano solo tho
I'm pretty sure he traded his talent with his hair :)
Then how do you explain Pat Metheny?
@@utube9000 but what about Jim Hall and John Scofield. Oh and frank gambale.
@@utube9000probably small feet or something, or that big nose lol
Not anymore
Eskills and Trauma..Where have you guys been hiding. Finally somebody talking who knows something. Much thanks! TH-cam gets serious. This sight could be the shit for jazz players if the dolts would stay in their area. I'm all about "sharing" ideas but sometimes the fuckers on here are just plain silly. As for Kurt apparently he's starting to deal with new scale ideas. If you see any example please post. For the real player! You can play anything as long as it resolves. Dolts, deal with that!
@zombie3785 kurt
and damn does he use it right.
Pat
Wes
Benson
all with hair (:
why everybody has to try to emulate Brad Mehldau on the piano. Be inspired by him, but don't copy him. I does not work. Kurt has a genuine own voice(not saying unique). That works
wonderful stuff - when a 'new' (previously unknown to me) guitarist catches my radar, OK that's a lie, but then if you think how so many promises fade to mediocrity, old gods and academia aside (your lauded termites). we who have known good sounds, we know good sounds when we hear them. or is it the inert primal rhythmic horn - who knows? - bloomin' good array tho Kurt ...
@kkjhhkjhkj Kurt is more derivative of Michael Jackson and the "Boy Bands". Justin is more Coltrane/Rypdal/Jarrett influence.
'the guitar is a motherfucker ain't it?'
He's maxing out in a field of hair.
i know rite its scary
its unbelievable that people listen to this and notice something its not as good as. It's not created to be compared, and nor is this the medium to do that in.
Haha! Who is getting so angry over this comment that they keep thumbs downing it?
There is no Holdsworth in his playing actually . Holdsworth has never played chords but Kurt does .
juan antonio jove vidal Are you kidding me? Wow you must not know much...
jazz isnt about anything... listen to Thelonious Monk, one of the 'creators' or pioneers of jazz as we know it, listen to him play a standard
that's was a strange drum solo. :S
Damn bro is really bald
That's my point: the golden age (c. 1945-1975) of modern jazz as a cultural and creative force has already come and gone. Will there be talented players in the future, and are there now? Yes, but their achievements will not and cannot supass the masters who came before.... that ground has already been plowed.
Im curious if you still stand by these statements?
Re: "Ok, well I disagree because a. I wouldn't class 1945-1975 as the "golden age" of jazz.." Read my post again; you omitted the word "modern" before the word "jazz." Jazz historians typically separate jazz into eras, i.e. modern jazz - as defined by the advent of bebop - started in the period 1940-45 and ended in the period 1970-75. That's what I meant by the "golden age" description.
Re: "So any achievement by any artist is contextual to the style." This is a non sequitur... and means ?
*facepalm*... how on earth can you say he has no feeling?
germans cant improvise lol