Who else do you NEED to check out besides Charlie Parker? ✅ 3 Reasons Wes Montgomery Is Amazing And Worth Checking Out th-cam.com/video/eTOTO4CGrzs/w-d-xo.html ✅ 5 Easy Solos to Learn By Ear and Boost Your Jazz Guitar Skills th-cam.com/video/K7OO-s31pOU/w-d-xo.html
Important is the travel I d say, not the arrival. The Arrival is due to mind illusion : the travel is the present lived beyond the castrating duality of the result
@@JensLarsenu d say *it is*! Holy Notes >>> specific molecular state of water. If u want to achieve that geometry in the Pleroma, u have to follow holy notes, and rules, or u work for the opposite biology, the one not connected with the Ether: Ai=Satan. Music HAS RULES, or the Universe would collapse 😜
Man, this is the good stuff! A real master class on the most influential player. I recognized most of these lines and was enjoying playing a game of identifying the tune. Thanks so much!
Sometimes I take a week or two break from Jazz and learn a classical tune or some old Eagles tunes. When I return to jazz, my view is clearer and I always find a lesson from you. Thanks!
What an awesome lesson Jens. There's so much to digest, I had to take notes for half an hour! This one will take some time for me to truly understand and integrate into my playing. But I think its worth knowing how the masters play even if I'm not there yet. For me, it's as Steven Covey would say, "beginning with the end in mind". Thanks and happy 2022.
Wow Jens, thank you for this. This is a "dense" lesson; it contains a lot of good stuff that can be used in so many ways (and so many styles/genres). You really strike the right balance between theory essential explanation, without dwelling too much. Please keep up this good work. I am not a jazz-guitar player. But yet, I just spent one hour trying to integrate elements of this lesson in my playing for slow blues and fusion solos. Thanks again.
Man You R so cool. I do love Your way to say ,,the Jazz".Love your humor and the clear explaination. there is no spook. just the ,,Jazz". Many thanks...
Great! Tip #1 for lick #9 ( bar 1): slide&pull off from D to Bb, slide from Bb to B,slide from Ab to nowhere , slide from C to C#, slide from F to D and then from B to C,slide from E into F. All that for better bee-bop frasing.
Perfect! Been really getting into Charlie Parker recently - best answer to my question ever (although im sure this video was already in the works). Super examples here.
You have clearly studied Parker deeply in order to make such an interesting and accessible video for us. Not sure if I will be able to use these ideas yet, but they will add much to my appreciation of Bird's music.
As I live in Bach-Stadt Leipzig and love his music the most under everything (is this proper English?) else in this world the arpeggial motife example from 3min was such a kick when I heard this 5 minutes ago. So I had to comment. Beautiful! Thank you!
Jens, i learn jazz guitar by myself with your and other channels videos and books. And i really get frustrated. First - i started book Beginning jazz by Jody Fisher and i see that i need to memorize 6 different positions for pentatonics, for major scale, lots of chords and their inversions. I already knew some shapes and play major scale with 3 positions but i feel it is time waste - i dont know jazz standards ( only 2 - minor swing and so what ), dont know altered scales, arpeggios and i see - licks is important. I just want to start improvise! Is it not possible for me or i do something wrong? Thanks a lot and happy new year!
Start by getting comfortable playing Chord Tones on a standard like Autumn Leaves. Start slowly playing one of R,3,5,7 as minims in different combinations against each chord until you can play through without stopping. Next is to develop Voice Leading using the 7th to 3rd and 9th to 5th between chords. You’ll notice the importance of this relationship between notes over a II V I. The 3rd and 7th in particular really spell out the type of chord you are playing. Master that first, then you can start to think about learning Bebop Scales and Harm Min Scales. And remember always think about the different RHYTHMS when playing. Good luck.
It is difficult to give too specific advice because everybody is different and at different levels, but maybe check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ That is my perspective on getting started playing Jazz, and it is not about tons of positions.
As Jens says, make music. For me as a beginner, learning tunes to use all that material on is really important. Jens has an online course (roadmap course) that helps with a framework to learn songs that helped me greatly.
Interesting as usual! I recognise nr 5 (especially the Amaj section) from different Jazz At The Philharmonic Cherokee jam sessions, almost like an inside joke. Dexter Gordon based the B section of his tune "The Chase" on that idea as well. 🎶
Great video, and playing the 5th minor7 (gm7 n this case on C7) is what Barry Harris recommends doing with his system in regards to playing 6's on the 5ths, for all chords except fully diminished. He says 7th chords don't resolve as well as major 6th, negating the one chords. He says this about the one chords. I learned the theory of why this so, but don't remember. He says to play the minor 3rd on the the minor 7 chord - so fm7 becomes A flat major 6th, and on and any major 7th chord, you make a major 6th. Now I always did these things naturally, somewhat, cause I like to add subs/extensions to chords, before I knew theory, regarding scales, and I would use passing chords. As I grew as I player I found that I could literally play anything I wanted, if I played it the right way in ANY context. I NEVER think of scales anymore either, I just think of the chords, where they're coming and going. I found as player that if you play your instrument a lot, and know the notes on the fret board, and the best notes in the chords, like the 3rd, 5th, 7th. all the notes, The need for scales became useless to me? I say this cause when first started, I thought I had to know SO MANY scales that went with the chords. But as soon as started learning scales, I instinctively started playing lines within them. Then I started to wonder why certain scales sounded great with different chords and this confused me. I found for me, the best way was to make up lines in my head based on the changes I was hearing in my head, in slow motion. This was way better for me than scales. The scales got ingrained into my subconscious, but I feel thats all they were good for. I've heard players new to jazz playing them and it sounds like thats what they're doing ( playing scales ) but, if you encourage them to make music, or lines with the scales, I have found that only 50% of the people can do this? This is the fine line between seeing who has more of a natural born musical gift between students, this and their sense of timing and natural Rhythm. I'm wondering Lars, if you have ever done a video regarding Barry's 6 on the 5th. I haven't found any videos giving a good explanation of the theory. If anyone knows, please post the link for me. Thx again Lars.
I heard about an idea on barry harris lesson it is a video about freeing the self while soloing without yhinking about target notes which I think target notes is kinda an off for me. Since I think it is repetitive and it is good since it spits the changes of the chord but it is kinda systematic. So I know how to use target notes during a solo my problem is that it is predictable. What do you think about target notes? Do you think Barry harris idea is more clear? And Jens nice video by the way, your videos improve ever since I really love the improvements.
I don't know for sure, but this sounds to me like you are just being very superficial and trying to avoid having to practice making music. You can find examples of taget note melodies from Bach to Barry and Bird. I don't really see how you can consider that predictable or repetitive without wondering if it also has something to do with your own playing and skill level? To me this just reads like you don't really understand what it is. I am open to being wrong about your comment, but that is how it looks to me.
@@JensLarsen Yeah I really don't understand it sorry for that. I just want to play with not thinking what the notes to hit.(is it bad by the way?)I just want to feel it you know. But do you think it is fine for a beginner like me to start on that barry harris method or on the target notes instead? I really would appreciate your answer sir Jens.
@@Freuivan In the beginning you need to think about the notes, but with practice you go beyond that. I don't understand why you think Barry Harris is not target notes? That doesn't make any sense. A lot of his stuff uses target notes. It does not have to be one or the other (It wasn't for me)
@@JensLarsen Thank you for the answer sir Jens. I am really annoyed of using target notes but based on your answer I would go back to learning it again and I think it is something that I don't mastered so it make sense that I would go back to it. Thank you Sir Jens. And Happy New Year by the way. Wish you good luck on this new year.
Great players like Parker have their own signature sound I guess the sound is developed throughout practicing a lot but when the musician is trying to invent melodies and hi finally founds some of them that he likes the most and starts playing it or slight variations of it in many saturations What's your opinion jens ?
I think that you do need to practice to get good, but I also think a part of that practice can be to get better at coming up with interesting melodies.
I'm not sure if this is a valid question, at the 20 second mark.. in reference to playing a G-minor 7th triplet over the C7.... while playing, it seems harder to think of all that, as opposed to thinking... i will just play a 5- flat 7th- 2nd triplet... over a C7, with a F# leading note.... p.s. i'm the dude that wrote to you about meeting Joe Pass previously... thanks...
I don't think you should think like that at all if you are improvising, to be honest, at least I don't. But, while I am practicing then I find that it is better to think in chunks of information rather than a lot of details. Imagine if you were spelling every word in this comment, would you then still get the meaning of what I am writing?
I have one question what defines genius. I heard people call Elvis a genius or other musicians the same thing . But what defines genius this is a serious question. I think we throw that word around carelessly
Google says: "an exceptionally intelligent person or one with exceptional skill in a particular area of activity" if that is the definition I could use it about a lot more people than I do. Are you calling everybody a genius, or don't you think Parker was a genius?
I consider parker exceptional he practical invented bebop. But when parker and gellespi started bebop older musicians thought it wasn't good music if I'm not wrong . I consider Parker and Art Tatum in the same category Innovators and yes musical genius
That's a hard question. Take for example Allan Holdswort technically a master of the instrument but he's boring to me compared to Wes Montgomery he's not in the same league why because Wes says more with one line than Holdswort says with a thousand notes . I don't think Wes is technically better than Holdswort but Wes is the better musician .
@@GJP1169 Isn't that just you trying to decide who is a genius with your taste? To me, that is a bit like trying to argue that Beethoven is not a genius because Mozart is better, or Stan Getz is a genius but Coltrane is not. I am not sure I think that makes a lot of sense. Maybe it is a bit arrogant to try to force your own taste on stuff like that? Who are you to decide what is important and what isn't.
@@JensLarsen Ron Echete once told me that you have sleep with Jazz and live jazz to actually be willing to learn the last American artform also learn 20 standards.
@@JensLarsen you have to check this out. George Benson jamming with the house band. Joey DeFrancesco and Ron Echete in Fullerton California. I used to live walking distance to this Jazz Cafe back in the day. It used to called Steamers. Diana Krall, Larry Coreyell, Kenny Burrell and Herbie Hencock once played there as well.th-cam.com/video/GraTTjbECzs/w-d-xo.html
Who else do you NEED to check out besides Charlie Parker?
✅ 3 Reasons Wes Montgomery Is Amazing And Worth Checking Out
th-cam.com/video/eTOTO4CGrzs/w-d-xo.html
✅ 5 Easy Solos to Learn By Ear and Boost Your Jazz Guitar Skills
th-cam.com/video/K7OO-s31pOU/w-d-xo.html
"As long as you get to the right place, it doesn't really matter how you travel." Thanks a bunch for that one 👍👍👍👏👏👏.
Music is not bound by rules
Important is the travel I d say, not the arrival.
The Arrival is due to mind illusion : the travel is the present lived beyond the castrating duality of the result
@@JensLarsenu d say
*it is*!
Holy Notes >>> specific molecular state of water.
If u want to achieve that geometry in the Pleroma, u have to follow holy notes, and rules, or u work for the opposite biology, the one not connected with the Ether: Ai=Satan.
Music HAS RULES, or the Universe would collapse 😜
@@JensLarsen but isn't that a Dbm7 arpeggio from G half diminished in the 4th lick ?
My great Teacher. I do enjoy your teaching, you have really changed the way I play the guitar positively.
Thank you! That is really great to hear 🙂
That is gold. Just pure vocabulary, thanks Jens
Glad you like it!
Man, this is the good stuff! A real master class on the most influential player. I recognized most of these lines and was enjoying playing a game of identifying the tune. Thanks so much!
Thank you! Glad you enjoyed it!
Lick #5 is awesome. So is your lesson, as usual. Thanks for all you do, Jens.
That is indeed a killer lick! Glad you like the video :)
And Happy New jazz year ...great lesson
You too, Giorgio!
Sometimes I take a week or two break from Jazz and learn a classical tune or some old Eagles tunes. When I return to jazz, my view is clearer and I always find a lesson from you. Thanks!
Glad you like them 🙂
What an awesome lesson Jens. There's so much to digest, I had to take notes for half an hour! This one will take some time for me to truly understand and integrate into my playing. But I think its worth knowing how the masters play even if I'm not there yet. For me, it's as Steven Covey would say, "beginning with the end in mind".
Thanks and happy 2022.
Thank you Jim! Hope you have a great New Year's Eve 😊
Wow Jens, thank you for this. This is a "dense" lesson; it contains a lot of good stuff that can be used in so many ways (and so many styles/genres). You really strike the right balance between theory essential explanation, without dwelling too much. Please keep up this good work. I am not a jazz-guitar player. But yet, I just spent one hour trying to integrate elements of this lesson in my playing for slow blues and fusion solos. Thanks again.
Glad it was helpful! There is a lot of info, but I feel that it is important to highlight some of the melodic devices Bird uses :)
Your lessons just keep getting better, thanks!
Man You R so cool. I do love Your way to say ,,the Jazz".Love your humor and the clear explaination. there is no spook. just the ,,Jazz". Many thanks...
You're very welcome! I am glad you like it! 🙂
The Cherokee lines are priceless, especially in the harder keys. Thanks Jens!
Great! Glad you like it!
Great, great Charlie Parker ! Thank you so much, for sharing the knowledge with us.
Glad you enjoyed it!
Superb lesson again Jens. Thanks for all the great content and insights you provide. Best wishes for 2022 !
Happy new year! Glad you like it!
Thanks for the '' Bird''. Powerfull lesson and examples.
Glad you enjoyed it
Great stuff as usual Jens
Glad you enjoyed it!
02:59 is seriously one of fav Bird lines!!!
Yes, that is amazing! :) Happy new year!
Great! Tip #1 for lick #9 ( bar 1): slide&pull off from D to Bb, slide from Bb to B,slide from Ab to nowhere , slide from C to C#, slide from F to D and then from B to C,slide from E into F. All that for better bee-bop frasing.
So cool, thanks Jens!
Glad you liked it!
Great stuff!
Great VIdeo ¡¡¡¡ MVP .... happy neW year Jens ¡¡¡¡¡🍾
Happy new year! Glad you like the video!
Perfect! Been really getting into Charlie Parker recently - best answer to my question ever (although im sure this video was already in the works). Super examples here.
Great to hear, Ben!
Guess I know what I'll be doing for the next several weeks. Great stuff.
Go for it! Happy new year 🙂
You have clearly studied Parker deeply in order to make such an interesting and accessible video for us. Not sure if I will be able to use these ideas yet, but they will add much to my appreciation of Bird's music.
Thank you 🙂 I think I made the video to highlight how deep it is, not just as a bunch of licks or exercises
Jens 🍷🍷MASTER !!!AND TOP GUITAR PLAYER .... ABSOLUTE!
Thank you, Giorgio :)
Awesome video and content, thanks so much 👍🎸
Glad you enjoyed it!
As I live in Bach-Stadt Leipzig and love his music the most under everything (is this proper English?) else in this world the arpeggial motife example from 3min was such a kick when I heard this 5 minutes ago. So I had to comment.
Beautiful! Thank you!
Glad you like it NIco!
The Bird is the word.
Amaaaazing video for rookies as me 😃
Glad you liked it!
@@JensLarsen already on it since 20mins. Less tension of the fretboard it seems in only 20mins...My soul is thanking you, sincerely,
kind master 🙏
You are good bro, thanks for posting. I mean GOOD!
Thank you very much! Happy new year 🙂
Oh Yess Mr Larsen.. The Bird Without Question... Awesome Theory Breakdown ☺☺😎👊💯 And a Happy New Year to You My Good Brotha ☺☺😎💯💖
Happy new year!
@@JensLarsen Yessir.. Thank You Bro ☺☺😎💯
..... a great guitar you have
Thank you 🙂
One of the biggest take aways I’ve had for my musicianship is from Ginger Baker. He says “It’s not about how fast you can play, but what you can say.”
Exactly 🙂
I just bought a book called charle parker for guitar it is great.
this one was a banger!
Thank you! :)
The best!
Thank you!
Hey jens thank u very much! Can you suggest me a solo to learn that has got those concept?
Maybe one of these? th-cam.com/video/K7OO-s31pOU/w-d-xo.html
Jens, i learn jazz guitar by myself with your and other channels videos and books. And i really get frustrated. First - i started book Beginning jazz by Jody Fisher and i see that i need to memorize 6 different positions for pentatonics, for major scale, lots of chords and their inversions. I already knew some shapes and play major scale with 3 positions but i feel it is time waste - i dont know jazz standards ( only 2 - minor swing and so what ), dont know altered scales, arpeggios and i see - licks is important. I just want to start improvise! Is it not possible for me or i do something wrong? Thanks a lot and happy new year!
Start by getting comfortable playing Chord Tones on a standard like Autumn Leaves. Start slowly playing one of R,3,5,7 as minims in different combinations against each chord until you can play through without stopping. Next is to develop Voice Leading using the 7th to 3rd and 9th to 5th between chords. You’ll notice the importance of this relationship between notes over a II V I. The 3rd and 7th in particular really spell out the type of chord you are playing. Master that first, then you can start to think about learning Bebop Scales and Harm Min Scales. And remember always think about the different RHYTHMS when playing. Good luck.
It is difficult to give too specific advice because everybody is different and at different levels, but maybe check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/
That is my perspective on getting started playing Jazz, and it is not about tons of positions.
As Jens says, make music. For me as a beginner, learning tunes to use all that material on is really important. Jens has an online course (roadmap course) that helps with a framework to learn songs that helped me greatly.
Great video! I’ve been curious-what’s the white pick you use?
Thank you! That is a chicking picks badazz 3.2 mm
@@JensLarsen wow that’s thick! Thanks :)
Interesting as usual! I recognise nr 5 (especially the Amaj section) from different Jazz At The Philharmonic Cherokee jam sessions, almost like an inside joke. Dexter Gordon based the B section of his tune "The Chase" on that idea as well. 🎶
Thank you :)
Great video, and playing the 5th minor7 (gm7 n this case on C7) is what Barry Harris recommends doing with his system in regards to playing 6's on the 5ths, for all chords except fully diminished. He says 7th chords don't resolve as well as major 6th, negating the one chords. He says this about the one chords. I learned the theory of why this so, but don't remember. He says to play the minor 3rd on the the minor 7 chord - so fm7 becomes A flat major 6th, and on and any major 7th chord, you make a major 6th. Now I always did these things naturally, somewhat, cause I like to add subs/extensions to chords, before I knew theory, regarding scales, and I would use passing chords. As I grew as I player I found that I could literally play anything I wanted, if I played it the right way in ANY context. I NEVER think of scales anymore either, I just think of the chords, where they're coming and going. I found as player that if you play your instrument a lot, and know the notes on the fret board, and the best notes in the chords, like the 3rd, 5th, 7th. all the notes, The need for scales became useless to me? I say this cause when first started, I thought I had to know SO MANY scales that went with the chords. But as soon as started learning scales, I instinctively started playing lines within them. Then I started to wonder why certain scales sounded great with different chords and this confused me. I found for me, the best way was to make up lines in my head based on the changes I was hearing in my head, in slow motion. This was way better for me than scales. The scales got ingrained into my subconscious, but I feel thats all they were good for. I've heard players new to jazz playing them and it sounds like thats what they're doing ( playing scales ) but, if you encourage them to make music, or lines with the scales, I have found that only 50% of the people can do this? This is the fine line between seeing who has more of a natural born musical gift between students, this and their sense of timing and natural Rhythm.
I'm wondering Lars, if you have ever done a video regarding Barry's 6 on the 5th. I haven't found any videos giving a good explanation of the theory. If anyone knows, please post the link for me. Thx again Lars.
I heard about an idea on barry harris lesson
it is a video about freeing the self while soloing
without yhinking about target notes which I think target notes is kinda an off for me. Since I think it is repetitive and it is good since it spits the changes of the chord but it is kinda systematic. So I know how to use target notes during a solo my problem is that it is predictable.
What do you think about target notes?
Do you think Barry harris idea is more clear?
And Jens nice video by the way, your videos improve ever since I really love the improvements.
I don't know for sure, but this sounds to me like you are just being very superficial and trying to avoid having to practice making music.
You can find examples of taget note melodies from Bach to Barry and Bird. I don't really see how you can consider that predictable or repetitive without wondering if it also has something to do with your own playing and skill level? To me this just reads like you don't really understand what it is.
I am open to being wrong about your comment, but that is how it looks to me.
@@JensLarsen Yeah I really don't understand it sorry for that. I just want to play with not thinking what the notes to hit.(is it bad by the way?)I just want to feel it you know. But do you think it is fine for a beginner like me to start on that barry harris method or on the target notes instead?
I really would appreciate your answer sir Jens.
@@Freuivan In the beginning you need to think about the notes, but with practice you go beyond that.
I don't understand why you think Barry Harris is not target notes? That doesn't make any sense. A lot of his stuff uses target notes. It does not have to be one or the other (It wasn't for me)
@@JensLarsen Thank you for the answer sir Jens. I am really annoyed of using target notes but based on your answer I would go back to learning it again and I think it is something that I don't mastered so it make sense that I would go back to it. Thank you Sir Jens.
And Happy New Year by the way. Wish you good luck on this new year.
0:56 interesting this chord is C7 but it seems also to be Gsus4
Is this available on your Patreon site?
Yes!
@@JensLarsen ok… I’m an official “die hard” 😬
Bird lives!
I doubt that, but the music is still there :)
@@JensLarsen The world lost him far too young. 😔
You could buy transcribed Parker sols like the Omni book. But without Jens to explain the what and the why you won't learn much. Thanks Jens.
You are very welcome 🙂
What song is lick #2?
Great players like Parker have their own signature sound
I guess the sound is developed throughout practicing a lot but when the musician is trying to invent melodies and hi finally founds some of them that he likes the most and starts playing it or slight variations of it in many saturations
What's your opinion jens ?
I think that you do need to practice to get good, but I also think a part of that practice can be to get better at coming up with interesting melodies.
I'm not sure if this is a valid question, at the 20 second mark.. in reference to playing a G-minor 7th triplet over the C7.... while playing, it seems harder to think of all that, as opposed to thinking... i will just play a 5- flat 7th- 2nd triplet... over a C7, with a F# leading note.... p.s. i'm the dude that wrote to you about meeting Joe Pass previously... thanks...
I don't think you should think like that at all if you are improvising, to be honest, at least I don't. But, while I am practicing then I find that it is better to think in chunks of information rather than a lot of details. Imagine if you were spelling every word in this comment, would you then still get the meaning of what I am writing?
Wow !
🙏😎
guess i'm practicing my triad inversions today ... hmpf!
Go for it 🙂
you made good video
I have to thank you ...later.
No time now. Have to practise...more, much more.
So, please be patient Jens.
Go for it!
Music ed major here, played jazz in college yet still being suffocated by basic:/
hi..i need advice. what type of guitar string is comfortable and suitable for use with hollow body guitar? Thank you.👍
Get some Sonotone strings! :) Link in the description
you good video make
👏🏻👏🏻👏🏻
I have one question what defines genius. I heard people call Elvis a genius or other musicians the same thing . But what defines genius this is a serious question. I think we throw that word around carelessly
Google says: "an exceptionally intelligent person or one with exceptional skill in a particular area of activity"
if that is the definition I could use it about a lot more people than I do. Are you calling everybody a genius, or don't you think Parker was a genius?
I consider parker exceptional he practical invented bebop. But when parker and gellespi started bebop older musicians thought it wasn't good music if I'm not wrong . I consider Parker and Art Tatum in the same category Innovators and yes musical genius
@@GJP1169 Now, I am curious who you don't consider a genius that you feel is regarded as one?
That's a hard question. Take for example Allan Holdswort technically a master of the instrument but he's boring to me compared to Wes Montgomery he's not in the same league why because Wes says more with one line than Holdswort says with a thousand notes . I don't think Wes is technically better than Holdswort but Wes is the better musician .
@@GJP1169 Isn't that just you trying to decide who is a genius with your taste?
To me, that is a bit like trying to argue that Beethoven is not a genius because Mozart is better, or Stan Getz is a genius but Coltrane is not. I am not sure I think that makes a lot of sense.
Maybe it is a bit arrogant to try to force your own taste on stuff like that? Who are you to decide what is important and what isn't.
Mingus said it in a composition:
"GUNSLINGING BIRD"
I am paraphrasing,
(If Bird was a gunslinger, there would be a whole lot of dead copy cats around)
been working on it myself, but the th man, keeps bugging me
I kinda wrote down the cadence now
you'll figure out the cadence with imagination
There are really no short cuts to learn Jazz.
Luckily, Jazz is more than a gimmick :)
@@JensLarsen Ron Echete once told me that you have sleep with Jazz and live jazz to actually be willing to learn the last American artform also learn 20 standards.
@@JensLarsen you have to check this out. George Benson jamming with the house band. Joey DeFrancesco and Ron Echete in Fullerton California. I used to live walking distance to this Jazz Cafe back in the day. It used to called Steamers. Diana Krall, Larry Coreyell, Kenny Burrell and Herbie Hencock once played there as well.th-cam.com/video/GraTTjbECzs/w-d-xo.html
@@thebomontellano4996 Nice! I'll listen to that for sure 🙂
@@JensLarsen You'll love it enjoy!
kinda james bond vibes
joe meek goet video ai mien
your accent got less worse lol
Great workshop. Immaculate playing. Thank you.
Glad you like it 🙂
Great stuff!