Wow! Amazing playing. I love how you seamlessly/tastefully weave in and out. Getting this for sure. I'd also love a lesson on how you approach a jazz blues progression too. :-)
This is so cool, thanks, and your solo is the best. What's interesting is the type of groove. Seems so "familiar" yet foreign at the same time. I tried my hand at playing over it, and it's stuff like this that brings me back to reality! G minor/blues licks, okay, or Gmaj blues. All sound cool. But trying to incorporate jazz phrasing and superimposing altered licks like Db/G whole tone to give the b5, is tough. I would also think that you would want to throw in a D7 line to go "out" and back into the G7. However, it doesn't sound so great, and seems to take away from the essence of the groove. Taking some of the lines you create, it seems the notes A and F# are used with some care, or caution. If you pose this question to any jazz forum, or discussion, you will likely get G mel. min, which is almost vague, since there's so much within that scale. And running up and down the scale gets old. I wonder how Wes Montgomery would handle such a groove? He is a god of sorts, and one of my favorite players. But this groove is different, no? It's not simply a ii-v major or minor. It demands a level needed for sounding good over a modal piece, where people might again say, "just use dorian, that's what I do, or melodic minor...wait why are we discussing this?!!... don't overthink it", etc 😅😢 Would Wes sound as good on this as you? Is that a "how dare you ask that?" question. Thanks, awesome 😎
Yes, Wes would toast me on this. The theory that you speak of us has its place but it will always come down to groove and tone both of which Wes remains the greatest at. Thanks for your thoughts!
love it! awesome playing and lesson idea. it'd be cool if you did a similar theme with each type of chord- a major version of this and minor version too (although you might have already).
Dear Barry, may I ask you a question about the way the jazz player's brain functions in real-time? Assume that you are improvising over a song and a E7 chord is coming. Let’s say you feel like putting a myxolydian lick over it. 1. Are you setting up a finger structure corresponding to the E major scale making sure that the 7th is flat? 2. Are you setting up a finger structure corresponding to the A major scale? 3. Are you just playing note randomly but staying in the high alert mode and make sure that you correct “wrong” notes before the audience hears them? Thank you in advance.
Yakov Vitrenko none of the above. It's all about hearing what you are playing, nothing to do with any other decision making. All the years of practicing scales and modes just enable immediate access to all the sounds that you hear in your head. Thanks.
Lovely, just lovely, Barry. Always a great way to start my day!
Delicious lines as usual Barry!
A definite WOWzer! So clean, rich, and smooth -- Perfection!
+Dale Strand thanks Dale!
one of the best on the planet
Thank's
+Hagai Rehavia thank you!
RIP Larry Coryell. Everyone check Barry playing live with Larry. Its really cool.
Larry Coryell visionary! RIP
Amazing !!!!!
+Aulas de Guitarra EDBLUES thanks!
Wow! Amazing playing. I love how you seamlessly/tastefully weave in and out. Getting this for sure. I'd also love a lesson on how you approach a jazz blues progression too. :-)
+lpgoog I do have lessons on blues changes. Check out the Vimeo on Demand page. Thanks!
Killin bro
+Camilo Velandia thank you Camilo!
Yes yes
thanks!
Still the baddest cat in town!:)
Best regards to you man.
+Armani Lehmann thanks Armani!
This is so cool, thanks, and your solo is the best. What's interesting is the type of groove. Seems so "familiar" yet foreign at the same time. I tried my hand at playing over it, and it's stuff like this that brings me back to reality! G minor/blues licks, okay, or Gmaj blues. All sound cool. But trying to incorporate jazz phrasing and superimposing altered licks like Db/G whole tone to give the b5, is tough. I would also think that you would want to throw in a D7 line to go "out" and back into the G7. However, it doesn't sound so great, and seems to take away from the essence of the groove. Taking some of the lines you create, it seems the notes A and F# are used with some care, or caution. If you pose this question to any jazz forum, or discussion, you will likely get G mel. min, which is almost vague, since there's so much within that scale. And running up and down the scale gets old.
I wonder how Wes Montgomery would handle such a groove? He is a god of sorts, and one of my favorite players. But this groove is different, no? It's not simply a ii-v major or minor. It demands a level needed for sounding good over a modal piece, where people might again say, "just use dorian, that's what I do, or melodic minor...wait why are we discussing this?!!... don't overthink it", etc 😅😢
Would Wes sound as good on this as you? Is that a "how dare you ask that?" question. Thanks, awesome 😎
Yes, Wes would toast me on this. The theory that you speak of us has its place but it will always come down to groove and tone both of which Wes remains the greatest at. Thanks for your thoughts!
@@BarryGreene thanks Barry! Your playing is an inspiration!
Great lesson. That's a keeper! Btw, is the guitar in the background a Erik Krasno Ibanez? How do you like it?
Thanks. It's a Benedetto GA-35. Love it!
Barry Greene Oops, totally in a different price range. But they look uncannily similar.
$6500 for the GA-35?
love it! awesome playing and lesson idea.
it'd be cool if you did a similar theme with each type of chord- a major version of this and minor version too (although you might have already).
+iloverumi you can apply all of these ideas on minor chords as well!
even better. i know what i'll be doing this weekend. thanks!
Dear Barry, may I ask you a question about the way the jazz player's brain functions in real-time?
Assume that you are improvising over a song and a E7 chord is coming. Let’s say you feel like putting a myxolydian lick over it.
1. Are you setting up a finger structure corresponding to the E major scale making sure that the 7th is flat?
2. Are you setting up a finger structure corresponding to the A major scale?
3. Are you just playing note randomly but staying in the high alert mode and make sure that you correct “wrong” notes before the audience hears them?
Thank you in advance.
Yakov Vitrenko none of the above. It's all about hearing what you are playing, nothing to do with any other decision making. All the years of practicing scales and modes just enable immediate access to all the sounds that you hear in your head. Thanks.
Yum, sweet and Benson-y in all the right ways. Tasty.
Thanks!