Wes Montgomery - How to make Simple sound Amazing
ฝัง
- เผยแพร่เมื่อ 24 ก.ค. 2024
- This Wes Montgomery Guitar Lesson is breaking down parts of the solo on Four on Six. This version is from the album: "The Incredible Jazz Guitar". What makes Wes a great improviser and jazz guitarist is not that he played octaves or chord solos. There are other aspects of his playing that are the reason that we consider him the most important jazz guitarist in modern jazz.
This video goes over 5 aspects of his playing that you can easily work on in your own guitar solos. I think really defines what is great about his playing.
Wes Montgomery recorded four on six several times. The most famous recording is probably on the SMoking at the Half Note album. This video is on the Wes Montgomery Solo off the album "The Incredible Jazz Guitar" with among others Tommy Flanagan.
If you want to check out another Wes Montgomery Lesson then have a look at this playlist:
• Wes Montgomery - This ...
Content:
0:00 Intro Wes Montgomery - Four On Six
0:10 5 Simple Things in Wes' Style
0:53 Four on Six and The Incredible Jazz Guitar of WM
1:22 #1 Just use the arpeggios (and make great melodies)
3:32 #2 Don't be afraid to Use Repeated Notes (Groove and Melody)
5:24 What are the things you love about Wes Montgomery? Leave a comment
5:50 #3 Motifs and Call-Response melodies
8:05 #4 Dynamics within the Solo lines
9:28 #5 Do You Have The Blues?
11:26 Like the video? Check out my Patreon Page!
The Article on my Website: jenslarsen.nl/wes-montgomery-...
🔴 Subscribe for more free Jazz Guitar Lessons and Videos: bit.ly/JensLessons
☑️ Support me on Patreon: / jenslarsen
✅DOWNLOAD A FREE E-BOOK with 15 II Valt I licks!
Sign up for my newsletter:
jenslarsen.nl/sign-up-for-my-n...
▶️ Check out my latest video: goo.gl/G16gVx
🎸Join us in the Facebook Jazz Guitar Group Community: bit.ly/InsidersFBGroup
If you like this video and want to help translate it into your own language you can do so here: th-cam.com/users/timedtext_vide...
Facebook: / jenslarsenytlessons
Twitter: / jensljazz
Snapchat: jenslarsenjazz
Instagram: / jenslarsenjazz
Google+: plus.google.com/u/0/+JensLars...
Tumblr: / jenslarsenjazz
My Gear:
Sono Core Vintage 13-53 Strings: www.sono-tone.com/products.html
Powered Monitor: amzn.to/2iPKMza
Audio Interface: amzn.to/2iPKGrd
Headphones: amzn.to/2iPKqbQ
Camera: amzn.to/2hXxBfJ
Notation Software: bit.ly/GuitPro
Notation Software: amzn.to/2iLCZQk
Webhosting - Siteground: www.siteground.com/index.htm?...
John Daw Custom picks: dawmanpicks.com/ - เพลง
![เปิดบ้านสุดหรู "เเจ็ค the ghost" ลั่นถ้าป๋องกพลลำบากผมเลี้ยงเอง!! l [Nickynachat]](http://i.ytimg.com/vi/1xbW4vULqGc/mqdefault.jpg)
Hard to beat Wes! 🙂 Who else should I make a video on?
Content:
0:00 Intro Wes Montgomery - Four On Six
0:10 5 Simple Things in Wes' Style
0:53 Four on Six and The Incredible Jazz Guitar of WM
1:22 #1 Just use the arpeggios (and make great melodies)
3:32 #2 Don't be afraid to Use Repeated Notes (Groove and Melody)
5:24 What are the things you love about Wes Montgomery? Leave a comment
5:50 #3 Motifs and Call-Response melodies
8:05 #4 Dynamics within the Solo lines
9:28 #5 Do You Have The Blues?
11:26 Like the video? Check out my Patreon Page!
Lenny Breau might be a good challenge... Wes used his thumb like a pick, and I've never figured out if he actually did upstrokes with it. I stopped using flatpicks about 25 years ago after 40 years of using one,, I'd been doing hybrid picking and pure fingerstyle for Brazilian music, and first heard Lenny in the early 1980s, which changed everything. Lenny developed a 3-notes per string scales system that increased single line speed incredibly, and took a long time to get down, then it became natural, and one can move in & out of that making changes as needed to supply the desired melody lines. Now, my biggest problem is having become so old, my damned hands won't do what the brain tells them to. Nice work man, you're doing a great job of covering all useful information. Thanks!
Someone who's completely overlooked who plays outstanding solos is Jerry Hahn.
Very interesting video, really enjoyed. John Abercrombie has a very creative and colourful mind (sadly not any longer with us) He's got a great record of Long ago and far away th-cam.com/video/JaYw4M4-Eiw/w-d-xo.html
His 'How deep is the ocean' arrangement is also amazing..
Django Reinhardt please.
Hi Jens, I have enjoying and learning a lot in your channel, thank you for the great videos, thumbs up again! Please feel free to submit back to support. I'm a musician from Brazil. Are you familiar with Brazilian guitar players ? I'd like to suggest if you don't mind, Toninho Horta, Hélio Delmiro and Nelson Veras...Cheers!
As far as jazz goes I've not found a channel better on TH-cam
Thanks, Rodney!
I grew up on rock, metal and blues. When I started to listen to jazz, Wes' style appealed to me because he was blues based. Tony Iommi of Black Sabbath talked him up in a Guitar Player issue and when I checked him out I knew that this is the type of jazz that I liked.
Wes is indeed way beyond the genre :)
I only got 7
Three things from Wes that I love: 1) how he plays 6ths major kinds of tonal centers over minor blues, e.g. he would start a Gm blues on F#. 2) How he would start a blues on the 9th 3) How he structured his solos -- single-notes, then octaves, then block chords. All brilliant stuff.
If Wes could read this, he would just shake his head. He knew the theory, he played with Hampton.. but he never thought in these artificial lines. Instead, I would rave about his impeccable timing, the comping he did is second to none. But his forte was his phrasing, you dont get that anywhere else. And the lyrical content of his playing .. no 9th this or 6th there.. he just went by the feel
Thank you for the video and explanation! For me, I’ve always been fascinated by Wes and his ability to comp and solo. I feel like he plays guitar the way a saxophonist or piano player would.
I am ever amazed at the depth of your knowledge and skill.
Thank you 🙂
Thank you for demystifying this for me and giving me motivation to finally tackle this! I learned the intro riff when I was a kid but never thought I could handle the rest of the tune. Wes made the simple sound complex. Great point about blues in jazz.
I'm beginning to understand what you're talking about now even I can't play them yet you explain everything so well
No worries Rodney! These examples are quite difficult :)
@@JensLarsen everything is difficult until I keep watching them lol
I really enjoyed this video, and this is just the kind of thing I need to be working on in my playing right now, using fairly simple material in creative ways. Thanks for posting this Jens, I bookmarked the video and the playlist.
That's the way to go Paul! Stay Creative 👍😎
Great stuff Jens! As ever with Wes, what sets him apart is his time feel and the feeling of 'inevitability' about how he solos. Something for us all to aspire to!
Thanks, Thomas! Glad you like it!
i'm joining the que here Jens but the thing that stands out to me about Wes is his work ethic. I remember reading somewhere how he would get up at 3Am when all the house were a sleep and start practising and he would use his thumb so the guitar wouldn't be as loud. The other thing to remember about Wes is he must from have his Hamp days played standrd Jazz and blues tunes week in week out. He had so many motiffs/licks /cadenzas' going through his mind. From simple to complex extensions and harmonic connections. Grant Green who is just as good IMO the same. But as other guitarists have stated i dont think he thought too much about actual intervals 4ths 6ths etc except in terms of general structure. The take home for me on Wes is that you cannot escape the work needed to attain greatness. Most of us that work or just trying to survive will struggle to achieve this level of mastery but it is an achievement just to understand how incredible these guys were.
Indeed, you need to put in the work 🙂
Very instructive. Great analysis of Montgomery's solo style.
Thank you! I am glad you found it useful! 👍
Thanks Jens,this lessons are pure Gold,you are a great teacher,
Really glad you like the videos :)
Great Video!! What I found so incredibly fascinating about Wes`s playing was his ability to do all his work with only his thumb and not a pick
That too 🙂
Hey Jens!
Love that Video and love Wes!
What i find most inspiring in Wes playing is, that he plays with a horn-like expression -> his great phrasing and melodic pureness makes him sound equally soulful to some great saxophonists he plays with!
Keep up the great stuff jens! Thanks!
That's great to hear Markus! I am glad you like the video!
Great lesson! Gotta love Wes. He did like to create motifs like that. Which makes your playing have a more disciplined feel, in a good way. Awesome tips, thanks.
Thanks, Michael! :)
Great and interesting lesson, Jens! I've been looking for Wes lessons and have been a great admirer of Wes since starting playing jazz and first listening to Smokin' At The Half Note (and also listening to your Wes playlist a lot ;) ). Keep them coming :D
Wes Rules! Thanks, Simon! Did you check out The Thumb? That is such a great blues!
@@JensLarsen He does indeed! :D I did check The Thumb out (first time again in your playlist) ; it is indeed amazing.
You do such an amazing job breaking these down.
Thank you! I am glad you like the video! Who would you like to see a video on?
He's the one to help me get into jazz guitar..he got beautiful tone and techniques. Such an effortless playing. Very remarkable jazz guitarist. My favorite one is the I've grown accustomed to her face(you would never disappointed by Full House album)..Probably if I buy electric guitar(I have played classical guitar), I would try and play his songs first.
I don't think you can ever do enough on Wes! Like you point out, he is probably the most influential jazz guitarist ever and for good reason. He's brilliant, tasty, and innovative. I like the way you emphasize melody in addition to scale choices. One of the aspects of his melodies you didn't mention is the way he voice leads the 7th from the two chord to the 3rd of the five in examples one, three, and five (like you say, the five chord is implied in examples three and five, another thing that Wes does brilliantly.) Great food for thought and the woodshed. Thanks.
Thanks, Dave! I also doubt that this is the last Wes video I will make :)
I do indeed think that his sense of melody is by far the strongest aspect of his playing.
Really the greatest ...
thanks again Jens
Wes Rules! You're very welcome! :) Who else would you like to see a video on?
Great video as always You are My FAVORITE Guitar teacher Keep up the Great work You Are doing
You're very welcome! I am glad you like it Anthony! 🙂
'Muchas Gracias 'Jens!! A really great insight into the genius of Wes; and analysis of "Four on Six' ;seriously good stuff and great example of how to use arpeggios of a minor '2-5-1 prog.' Well done you (!), and keep up the great work-many thanks from all of us 'perspiring/aspiring' jazz dudes from Oz to the USA
You're very welcome Max! I am glad you like it! Keep at it!
Wes has a great sense of swing, and makes every note matter.
Jens, I'm loving these videos! Great teaching!
Thank you, Ken! 🙂 Glad to hear that! Who would you like to see a video on?
@@JensLarsen Barney Kessel, and I never get enough Metheny.
Jens, as always in your analyses, you zero in here on key stylistic points with perfect examples. Though naturally I love Wes' chord solos, for me what really makes him stand out is not this or the famous octaves, but his compositional sense, which you illustrate so well with the discussion of how he utilised repetition to focus on groove. A composition is not just a string of chosen notes, but also the time values applied to them, and clearly Wes understood this instinctively. Also, every good story requires a good editor, and Wes knew when simple worked best and when less Wes was more. His technique and fluency were truly applied in service to an unerring sense of architecture and narrative. ... Terrific discussion!
Thank you, Elizabeth! I think Wes was indeed great at not overplaying without getting boring.
Wes was unique in the same sense that Sonny Rollins was unique, in his ability to tell a story with form and structure - through his playing. He takes you on a journey, Wes does...
Wes is my hero since so many years !
You could do a lot worse for heroes, just don't smoke as much as he did 🙂
😜 😂I keep only the musical side !
I love what you've pointed out about Wes and his simplicity, but i never realized what an important part of his playing it was. It reminds me of all his predecessors. Blues guys. They made everything simple but played with so much passion. I guess that's what Wes did. He incorporated the blues into his compositions to give them a feeling of who he really was.
Thank you! I don't think Wes really got that from the Blues guys, but I have a video coming on that 🙂
When you listen to West Montgomery and you were trying to play jazz guitar over the years he always sounds amazing but the more you get into the guitar the more amazing he is because even though he uses arpeggios and melodic statements they always seem to be spontaneous creations and there seem to be a lot more spontaneous creations than boiler plate repetitive jazz licks. I agree that he has an extended melodic line over multiple bars and he makes a statement which is what many great master musicians can do. He has an amazing solo on Jeanine the last eight bars of him playing Jeanine with the Montgomery brothers is a total a masterpiece..
Please do more Wes!
I probably will 🙂 Suggestions for songs?
@@JensLarsen Well, anything will do but I've always been partial to Full House (the track) and Impressions (from the Smoking at the Half Note album).
@@JensLarsen Polka Dots and Moonbeams is gorgeous, and very melodic!
@@JensLarsen Airegin, West coast blues, his rare live take of all the things you are
👍Cool topic! One ought not to overlook the very specific tone quality and significant rhythmic impact of the thumb when contemplating Wes' very dynamic musical approach.
His touch had an elegant blues sensibility (slides, slurs, grace notes) that mixed with his often punchy/snappy thumb attack allowed his phrases to weave between laid back legato and deep deliberate funk. He wrote great tunes, chord melodies, and always masterfully incorporated Harmonic substitutions.
No, there are a lot of things to like about Wes :)
Jens you are awesome! Wes was the first Jazz guitarist that I really wanted to play like. The melodic creativity and harmonic simplicity are exactly what I'm trying to play like, I guess I'm more into "Hard Bop." Thanks as always
Thanks, Ravi! What other guitarists do you check out?
Fantastic lesson Jens, I really like it :). Love tha parts where you point out his simplicity, and also video part where you speak about blues and urge to get away from it as originally blues players, when in fact we should use it as another sound, hit me right in the heart :D. As for your statement that Wes is hard to beat, well, I think he is actually unbeatable, he and Django of course :). No one can make lines so groovy, simple, while following the changes...
Thanks, Omar! Really glad you like the video!
This version, since I first heard it over 40 years ago, is my favorite jazz guitar solo. By the way, Tommy Flanagan plays a masterpiece on piano when Wes is done. Many thanks
@ GHminor7: Tommy Flanagan is - and remains today, after his death - an underrated and underappreciated performer and a master of the piano. My wife and I were privileged to see/hear Tommy and his trio many times at the old Jazz Showcase, back in Chicago. That was with Lewis Nash on drums and Peter Washington on bass. A sublimely wonderful and subtle group....
Just pure swing and tone in his playing
Certainly! Though ironically he plays pretty even 8ths here 🙂
Complimenti, bel video e bella lezione !
Thank you :)
Great video!
Thank you 🙂
Wes is really good example how it's not just what but how you play it.
Great work !
Thank you, Grobert! Glad you like it!
Fantastic as always, Mr. Larsen.
Glad you think so!
Terrific and clear insights as always - and tangentially triggering insights into why he and Wynton Kelly are such a great match
Thanks! Glad you like it! 🙂 He was indeed a good match with Wynton, though on this solo it is Tommy Flanagan playing piano
Jens Larsen Jens Larsen thanks again for the video. I know - I wasn’t thinking of this segment in particular, but generally - I think they feel the music in similar ways
Wes' Solos are great examples of how important it is to keep it simple at times. His note choice feels very efficient, natural and one phrase leads right to the following one - a true form of art. As if he was telling a story, as you said. One thing that I took from his playing is that you don't need to be the most technically sophisticated player, as long as what you play makes musical sense. Everything he plays is just perfectly on point and supports the song as a whole.
Though, I must say that I was quite impressed by his Solo on Sun Down of California Dreaming, especially the last few bars. How quickly and seemingly effortless he plays those octaves shocked me. Definitely check it out if you didn't yet!
And as always, thank you a lot for the video, Jens!
Yes, that is very true. I think Wes is music first! 🙂
Man, I really love your ideers!
Wes montgomery was one of the best band leaders of the jazz guitarist. He went from blues to pop tunes...because he was able to put together great combos. Jens has spoken to Wes's individual greatness in this video...very rythmic very melodic.
Wes was indeed great :)
Wonderful analysis. Wes was so instinctive.
Glad you like it!
Those chord/octave voicing thingys lol at 8:09, I always loved that about Wes but could never play them like that...thanks for the help Jens!
You're very welcome Daniel! You should actually check out how Scofield is really good at playing octaves!
Amazing
Thanks so much for all your wonderful videos. I really enjoyed this one too. Now I just need to stop watching videos for a bit and go play my guitar :-)
Wes is the MAN!!!
Yeah! 😎
The fact that he plays solely “With his thumb”. I play with thumb and fingers because I find it easier and I don’t get cramp in my fingers. Haven’t found any videos that teach only using thumb and fingers. This was a very good video thanks
Thanks! I don't make videos on things that I don't feel I have a method for, so I am probably not going to make a video on fingerpicking.
Always loved Wes. I'm gonna have fun with this this weekend. Going to watch out for bebop police☺. I liked your insights on using blues in one's playing. Thanks for the great vid.
Thanks, Ian! Good luck escaping the Bop Police :)
You asked for Bill Frisell in another comment. Did you see this video already? th-cam.com/video/6lmShrReTCY/w-d-xo.html&list=PLWYuNvZPqqcF247KJAOrdpBzCY0YTWk6O&index=6
I love the octaves!
Great video, thanks. As you asked, I was wondering if you could highlight some tips and tricks (or a full transcription... ;-) ) of Wes' Solo in the song "Mr Walker". That's at the moment my favorite song of Wes. Thanks anyway ! Great stuff you provide on this channel.
Thank you very much, Guillaume! It is not at the top of my list of Wes songs to cover in a video, but who knows :)
My hero! John Leslie “Wes” Montgomery! The most beautiful sound on the guitar! Says me.
👍🏼👍🏼👍🏼🎼🎵🎶🎸
Wes playing was great because he was always telling a story that he could play on and on and always if he chose a never ending stories.
More Wes lessons please 👌
Thanks, Max! I can't imagine that I won't do more :)
I’d love to get your thoughts and a breakdown on Wes’ solo on “Days of wine and roses” ... one of my favourite jazz guitar solos
Thanks, Clive! I actually stopped doing videos like these analyzing solos because people were not interested and they were really bad for the channel. Sorry.
I think Rick Beato did a video on that solo though? But I might be wrong.
great video! thanks a lot.
I think that another great feature on Wes is his rithm and swing.
I would like to see a video on the early days of Joe Pass, when he was playing a Fender Mustang at Sinamon house. He has so many great solos there.
Glad you like it! What albums with Joe Pass are that? I'll try and give it a listen!
Jens Larsen it is “Sounds of Synanon”. It ida great album, I think. Thank you!
I’m ashamed to say I’ve only started to listen to Wes a few years ago! I caught a live version of “Impressions “ on TH-cam and it blew me away! Great tone/phrasing and never sounds dated. Interestingly, I read he had no formal training. How the heck did he figure out all the interesting superimposed stuff in that era with no TH-cam? 😜🎸👍
I think he learned a lot of Charlie Christian. I am afraid I am so old that I also managed to learn without TH-cam :)
Can you explain the improvisation of George Benson on It's changed by Lonnie Smith? That lines are really amazing
As always a very multi layered lesson, "Summertime"...? Wow, did not know that.! How about Eddie Lang, jazz blues transitions? Thank You.
Thanks, Donald! I actually don't know anything from Eddie Lang :)
Jens Larsen LOL, teacher’s got homework...! 😎
At least two things I might note. Over that Gm, he would often use a Bb ma7 arpeggio from the root, but going up to the C (11th) - that just seems so "Wes" to me. Another thing that I think made him a very strong melodic player was to spin another motif from the one he was using, and keep this going. It seems part of the jazz idiom that we often use many motivs, each for a short time, whereas a classical musician would use one and try to mutate it. And of course, Wes' sound is the kicker - just so mellow! Thanks!
I think it was mostly a Gm arpeggio up to the 11th? I have another video on that.
Wes is indeed all about Motifs and Call-Response!
Glad you like the video, Jim!
I have often noticed how a really simple 3- or 4-note phrase becomes much cooler and complicated-sounding when played in octaves. I use this technique often, usually with the high note on the high E or B string.
But maybe they also become stronger because you have to take more care with the notes you play when you play in octaves and can't just play long lines all the time?
@@JensLarsen More often than not I'll use octaves to slow things down a bit and keep the listener interested. But please don't think I've fully mastered the art of playing octaves. String skipping remains a challenge. And I would never begin a solo with octaves.
Bebop police 😂 that comment was funny! Great video 👍
Thanks! Around here it is true!
Jens Larsen El guitarrista de Jazz más amable de TH-cam 💪💪💪
Great videos thanks so much. Great help.
Im also interested in his right hand technique.. and the tones he gets from his amazing "thumb-plectrum" 🤣
Generally, my right hand technique sucks. I never know if i should use a pick or fingers when attempting jazz . I suck at both!
Thank you! I don't play with my thumb so I can't teach it, sorry 🙂
Nice & easy lesson_ lots of take away topics -
Thanks :)
Oh Yeah keep doing more teaching on Wes please
I will :)
Great video, thanks! Would be cool to see a video about Chet Baker - great style, very melodic. He's also using blues phrases mixed up with the changes, I'm practicing his solo on Autumn Leaves that has beautiful phrases in it! Thanks
Thank you Hristo! Chet Baker has been on my radar as well, there is a great solo of his on doodlin' that I might do. Or do you have other suggestions?
Jens Larsen I'm trusting your taste :) I found the Autumn Leaves one since it's a tune I was practicing, and as I learned the solo I was struck how beautiful some phrases are, and it's conceptually quite simple.
The first Wes Montgomery song I heard, and still my favourite, was Full House, with Johnny Griffin on Tenor Sax. I'd love to hear your thoughts on that Jens. :-)
@ Chris Smith Saxophone: A acquaintance of mine, David Bloom of the famous Bloom School of Jazz, saw Wes live in the 1960s and commented that Johnny Griffin - whose nickname was "Little Giant," may have pushed Wes harder than anyone else ever did in jam sessions and when they performed together. I never saw Wes - I was just a child in those days - but I did later see/hear Griffin live, in person and up-close with his group - that man was an amazing performer, every bit as much a genius of jazz as Wes was. And in his prime, maybe the fastest gun in town, by which I mean he had that reputation of being the fastest and cleanest tenor man in jazz. "Full House" is such a tremendous LP and live performance in part because of him. The perfect trio backing them, Wynton Kelly with Paul Chambers and Jimmy Cobb, and the two giants out front, pushing one another to ever-greater heights.
If you haven't done it already, consider listening to the various versions of "Full House" - the tune - that Wes did at different points in his career. This version from Tsubo's cafe, compared to the ones he did on his European Tour in 1965 - both with Griffin (the shows in Paris) and without him (Germany, the UK and Holland). They're all brilliantly-done, but different, too.
What about the beauty of the warm tone we get from his thumb strumming/picking? Thats what kills me
Then you should play like that. It doesn't work for my playing so I don't really do that :)
Hallo Jens, thanks for the video. I think It is at least arbitrairy to place Wes’ solo in rigid academic perspective of arpeggio’s and II-V-I’s and to see hisgreatness from that point.
See his solo as an extension of the melody and as a coherent melody. I think guitarist should only play what they heare and what they could sing even the most outside material. Then the melody make sense. How many guitarist at the moment are doing that?
A small comment on the last 4-bar phrase from Wes. It seems to me more likely that Wes played that in something like the 2nd position, hitting the high Bb with his 4th (or maybe 3rd) finger rather than in 5th position (hitting the high Bb with 1st finger) as you do, Jens. The reason is partly that the phrase on the D7 chord that hits the lower Bb twice doesn't really make sense purely harmonically, but it is conveniently under the fingers when the D is played with the 1st finger on the B string. Also, the 'blues scale' is more naturally played in that position. You play it wonderfully in 5th position, but it takes more finger dexterity _and_ the repetitions of the Bb don't really make sense played in that position. In the 2nd position, the Bb is just a fast and easy interim note. Just a thought (and an easier task with my clumsy fingers).
Thanks, Ron! That could be. I don't really think about that too much if I can play it somewhere I play it there :)
WOW Jens, this was FABULOUS! A BIG THANKS for this! You're right, it's hard to beat Wes! In terms of his playing, I can't remember if you've done this before, but how 'bout his use of "Block/"Drop 2 Chords" for soloing or his "Comping" style? As for "Who else", maybe Lee Ritenour? I'd love to see you breakdown/analyze his arrangement of "Stolen Moments"!
Thanks again and cheers!
MB
Thanks MB! I am glad you like it!
I have done a lot of videos on chord soloing and using drop2 but not any that were specific to Wes :)
Don't think I know that Lee Ritenour recording?
@@JensLarsen I don't recall seeing them, but I'll definitely check-those-out Jens! It's from his album entitled by the same name. The tune was written by the saxophonist Oliver Nelson. Here's a link to Lee's arrangement: th-cam.com/video/yUBKcqq5wMM/w-d-xo.html Another good one would be "24th Street Blues" from the same album. In reality, that entire is fantastic! I've been listening to Lee since the early/mid '70s and this might be my favorite album of his? He's had so many that it's tough to choose.
EDIT: On a side note Jens, if you do listen to those, tell me that Ernie Watts can't blow a tenor!?
Thanks Jens and cheers!
MB
The video is unavailable :) I'll look it up on Spotify :)
@@JensLarsen Sorry, must have something to do with the Country Code? Hopefully you can see this one, which is a great video of "24th Street Blues": th-cam.com/video/H3ExMyZa9VY/w-d-xo.html Ernie Watts is just a monster player! As I mentioned, LR has so many great albums, another of which is his homage to Wes entitled "Wes Bound". Check that one out too if you get the chance.
Thanks Jens and cheers!
MB
explain the turn around - the Gminor part everyone gets its just the rate of speed he handles eash turn around in the solos progression I never get that thanks
I don't really understand what you are asking?
I wonder if this is why Wes was so popular, you can hear the connection to the chords even if you aren’t a musician. It’s accessible.
I think it is more about strong and simple melodic ideas and concepts
Great video Jens, but where did you find that album cover with the name "Percy Faith" in the band instead of "Percy Heath"? You're trying to see if we're paying attention, right?
Great vid Jens! River deep groove trumps (sorry) math-jazz every time imho. I always felt Wes was arranging his solos in real time-pick any of the motifs he creates in his improvs and i bet they’d sound great as a horn section stab in a big band. When i listen to Wes even in a small group i feel the same monster energy as when i listen to a great big band. This is why his Verve stuff and much of the Creed Taylor stuff he did is hard not to like-he’s driving most of that stuff rather than floating on top of it-yeah theres some lame stuff from that period but the stuff that works, works very well, indeed. imho. It’s like the best Sinatra from his Capital “concept” records-just swinging so frickin hard its impossible to not be drawn in. Wes is the Sinatra-in-his-prime of guitar.
Glad you like the video (and Wes 😄)
@@JensLarsen yeah--very inspiring to focus on a bite-sized chunk and reveal its secrets so clearly--really reminded me what i love about improvisation--what i want to stay focused on--and what i don't need to work on!
thank u!
I know about Wes Montgomery! When he played single lines, he never uses his fourth finger, which contributed to his unique sounds. With respect to arpeggios, he played major ones over minor chords and vice versa. If you listen to his renderings of impressions, he solos off G7 instead of D minor. The same with the song featured on this video. That's why he sounded so modal and this cant't be more plainer when listening to his chord solos using major, minor, dominant chords within a key with astounding results. One of his best examples of chord soloing is featured on a live recording of All the Things you are -WOW!!!
Sorry, but you are almost completely wrong about that. I have no idea about which fingers he used, but the rest is nonsense. You probably need to listen a little more to his records because you don't really know about him :)
I'm always hesitant to play minor pentatonic on any chord that's not Dom 7 or minor. To my underdeveloped ear, it seems to almost always be workable which makes me think I must not really be hearing the chords that well yet. This type of problem creates a huge barrier between playing expressively and wanting to play things that aren't wrong. It also makes it hard to know how to apply concepts I learn from transcriptions. Do you have any suggestions for productive ways to break through that?
Learn to play towards target notes and train your ears to hear how what you play connects to the chords. That will help you develop that skill
@@JensLarsen thanks!
In my experience Wes' language is more 'modern' on smokin, at the half note than on a lot of his other albums, maybe because its a later album and/or it's a live album where he actually gets to let go. His time at verve probably didn't let him show off as much of his ability as the earlier albums did. Is that your experience? For example the start of No Blues has interesting but cool extended note choices and from memory he uses a G whole tone over a G -7 on 4 on 6.
I don't think I really agree with that. I think the language is pretty much the same, and the whole tone thing is in most of his recordings of this piece. I think it is in this one as well :) What is interesting is that you can hear how he will have periods where he goes for certain phrases and you can hear that change a bit through the6 or so different recordings I have heard of Four on Six
Jens Larsen thanks for your comment Jens. Keep up the awesome work, you have a great channel!!
Great video as Always! Would You please explain further how 4 on 6 comes from Summertime?
You know, sometimes seems to me that most jazz guitarist play monophonic lines as if they were sax or trumpet players. What about climax? do they push the tension in their solos just by playing faster? But that way you loose the perception of altered tones and extensions in relation to the harmony of the tune. I do think Wes could build up the climax of his solo "simply" switching from single notes (where information is horizontal) to octaves (where notes are stronger by higher volume/velocity AND adding a parallel line below) to block chords (where volume/velocity increase and musical information is brought not only horizontally but even vertically: You have 4 notes in relation with each other AND with the armony below).
And no sax or trumpet can play octaves or chords, eat your heart out :^D
Try to transpose Summertime to Gm and look at the chord progressions :) I am sure you can see it.
Making a build up in a solos varies from artist to artist and often also from solo to solo of an artist. Few are as predictable as Wes.
@@JensLarsen 4on6: got It!
@@antsonc So great! And much better than if I had tried to explain it!! Congrats!
What kind of picks and string do you use?
I use Sonotone 13s strings and chickenpicks Badazz 3.5mm
nice Yamaha SG in the background
Indeed it is! Thank you :)
Something I noticed: in your tabs and staff around 10:30 during the blues phrase; shouldn't there be written a C# on the third string sliding to a D (second bar) instead of a G on the fourth string? Don't want to be nitpicky or smthing (sorry if it appears that way, just somethin I noticed you playing differently :) )
That could very well be, I often add typos (or make mistakes) 😄
Maybe simple and straight forward with the chords there. But his feel is amazing.
Yes, his phrasing is so on-point!
"Not enough tri tone subsitutions" - the bebop police
You have to be careful!
The best soloists seem to do the most with the least.
in the first song, the dominant chords have 5b, except the G#7/13
That's pretty much only in the theme.
i havent noticed, ill check. thx
What is on the bridge of your Stratocaster?
The graphite saddles? 🙂
The weird star trek looking piece. It looks like it's connected to the low E
@@jefferysimpkins366 Ah that, sorry. That's just the place where I store my capo so it doesn't get lost
@@JensLarsen Thanks!
do one on airegin!!
I am not doing these types of videos right now, there was very little interest in them so they where hurting the other videos which means that they are not worht the 10-12 hours it takes to make a video :)
if a jazz band is a cake, Wes is putting that super sticky chocolate flavoured top layer on it that makes it from a cake into something you should better not eat, binding all the taste together in a bite.
Bebop police! Lol. I’ve gotten more bepop tickets than I can count. Don’t start or end phrases on the down beat. Avoid the root in phrases or playing chords, especially when I’m an ensemble with a bass player. Quarter notes are boring. I remember an ensemble instructor telling me not to play so much rhythm in my comping when I was playing something I learned in a Wes recording. I literally laughed out loud when I saw the stop sign and heard bebop police. So true!
How did he play so fast with just his thumb? Amazing
@ Brian Moon: Re: "How did he play so fast with just his thumb? Amazing"
It is amazing, especially considering that no one else in the history of jazz guitar - to our knowledge, at any rate - has been able to replicate what he did. It is important to note that Wes' genius was much more than just his chosen means of playing with his thumb; it was the whole of his persona and command of the music. It is my personal view, but I believe that Wes would have been shone brightly on any instrument he chose. His brothers - also musically gifted - provide some evidence of that.... Monk on acoustic and electric bass, and Buddy on vibes and piano. Before the Marsalis family were the "first family of jazz," there were Wes and his brothers (and the Heath brothers, etc.).
George Benson, the all-time great jazz performer and once Wes' protege as a teenaged jazz player just starting his career, said that Wes' RH thumb was anatomically-unique in the sense that he had a corn or callus of some sort on the end of his thumb. If you look at photos, it is apparent that the tip of his thumb extends well-beyond the nail-bed, such that it cleared the thumb-nail. This would have been important in being able to negotiate up-strokes as well as down-strokes, as he was able to do both fluently. Being able to alternate pick with his thumb is one clue, since it is difficult to build up the necessary technique to play at high tempo, using down-strokes alone.
Clearly, Wes listened a great deal to not just guitar players - who were still then somewhat uncommon in jazz, but horn players, pianists and organists. As well as big-bands themselves. From horn players, he got that conception of trumpet-like articulation, like Clifford Brown or someone like that. The popping, clear articulation which gives such life to single lines. Wes also mastered a large variety of fret-hand slurs, slides, hammer-ons and pull-offs, slides and the like, and using both hands, the playing of muted and ghost-notes. He could also do rakes and sweeps, both ascending and descending across the strings. All of these things gave him the ability to negotiate everything from the quickest bebop tunes to the slowest ballad, without losing his signature sound.
A plectrum allows, in most guitar players, greater fluency and speed, as well as articulation and attack. But some tonal quality is sacrificed in the bargain, and that warmth and intimacy of tone & timbre that comes only when flesh contacts the string directly. Classical, folk, country and other fingerstyle players know all about these trade-offs. But Wes refused to be deterred and managed to combine the warmth and fat sound of his thumb on the strings, while still managing to attain and keep the advanced technique jazz requires. If you play guitar, especially jazz guitar, and you have tried to emulate Wes, you already know how difficult a feat it is. That's the magnitude of his achievement in solving those technical problems.
The guitar is a harsh mistress. Even Wes would joke about it when asked about his practice routine, he'd laugh and say: "Every once in a while, I just open up the guitar case and throw in a piece of meat!" But one of the characteristics which sometimes makes it challenging to play may have also helped him in his style, namely the ability to play most every musical idea or riff or lick in more than one place on the neck. If you watch Wes play a passage or a solo or whatever, it can readily be seen that he uses the length of the neck a lot in his playing, and does not confine himself to one, two or three positions.
Crossing strings, when picking with a plectrum or playing via another method, isn't always easy and sometimes things flow better by playing lengthwise on the instrument than by playing across the strings in position w/o moving the fretting hand. Other method, one common in fast and fancy country playing, but also in jazz guitar, is to use open strings as passing notes and to let them ring to give you a chance to get from one idea to the next on the neck without an apparent pause.
One final idea, and it is only a theory of mine: We know Wes used very heavy flat-wound strings, especially the top E and B, which were especially stout. Instead of a 12 or 13 for the E, he may have used a 15, and something correspondingly thick for the B. A thicker string is paradoxically easier to play thumb-style. We also know from various sources that he kept the action low. Combine these things with using his amp as a part of his instrument, which by the way all great electric guitarists do - and maybe you have a final clue: By keeping the volume on his guitar and amp pretty high, but by using a light touch, Wes was able to get around quickly, and also vary his attack and volume from very quiet to as loud and forceful as he liked. All things equal it is generally tougher to play fast with a heavier attack; generally, lighter is faster.
These are just technical ideas; I haven't even gotten into the genius of Wes' music, but maybe we'd better leave that for another time. One could write a book on that subject, easily.
@@GeorgiaBoy1961 great reply ! Thank you for the information and passion!
@@captainkoo - Always happy to hang out with other W.M. fans!
Please do some Hank Garland
I am not doing these types of videos right now there was very little interest in them so they where hurting the other videos
"Bebop police" +1..... I teach guitar for 32 years now and always use the word "Guitar police":-)
How he played such fast in octave ..?...mystery of my whole life
Didn't quite catch "Why He was so effective". It was not about "The Notes", it's ALL about "The Feeling". Great Cooks don't use a lot of "Ingredients"; They Simply "Know How To Season It Just Right".
Octaves he plays are awesome and his finger picking and strumming is also ridiculous
Bebop police should bust all of the "but can he play Smoke on the water?" people 😉
Yes, that would be much more fun! :)
LOL