Tag Archives: bebop blues guitar

Jazz Beginners: Grant Green Is The Most Important Guitarist To Check Out!

The Most Difficult Skill To Learn

You want to sound like Jazz. That’s the goal! You want to be able to take a song, solo over it, and play stuff that sounds right, with good phrasing and good timing. And That, is the most difficult thing about learning Jazz is not the technical things like scales and arpeggios, hitting the changes.

One of the best places to get started with this is to start learning solos by ear, and I think you should start with Grant Green solos. You might wonder why Grant Green

That is because His solos will teach you:

  • Amazing Bebop Phrasing and Vocabulary on the guitar (so it is easier to play)
  • Great Jazz Blues (In A few different variations)
  • Fairly simple with Friendly tempos

Because if you are learning solos by ear then don’t go straight to Allan Holdsworth.

I’ll show you some great Jazz Blues examples from Grant Green and in the process show you solos to check out that are fairly easy to start with.

Let’s start with a great Jazz Blues line from his solo on Solid which is both my favorite Grant Green album and a great Bb Blues:

You can hear how strong the phrasing is and how he is just sitting so nicely in the groove. The line is simple, it’s just triad stuff, major pentatonic with that 6th, the G,

in there and sliding into the 3rd:

Notice how he also has a lot of dynamics in the lines the low G at the end of the example is almost not there.

From Blues To Bop

You can probably tell that this is far from impossible to learn, and alsoa lot of fun to play! That’s the blues side of things, but there’s also some Bebop stuff to check out. Here are some triplet arpeggios, pivot arpeggios and trills:

I don’t know why, but that last phrase ending with a maj7th arpeggio that dips to the 6th and back to the maj7th reminds me of Peter Bernstein. I need to figure out why that is. This and the next example shows how Grant Green uses different sounds to keep the solo interesting.

First we get all this Bebop: You have a descending Fm7 triplet arpeggio,

some phrasing with a slide into G then an Abmaj7 pivot arpeggio,

something he uses VERY often, and which is also a great Bebop sound. And on the Eb7 you have the maj7th arpeggio from the 7th: Dbmaj7.

This is exactly the type of line and the type of vocabulary building blocks that you want to have in your fingers and in your ears as a part of your playing.

Changing Things Up

But to change things up then Grant Green really shifts to another gear, going back to some Blues phrasing:

Notice that he just really sticks to simple Bb lines and isn’t playing material that is based on the F7 chord that’s in the song.

Digging into the Blues as a contrast to the longer Bebop phrase. That is also a huge part of what makes him such a great example.

I am focusing on Jazz Blues because Grant Green is amazing at this, but there are many other things you can learn as well, as you will see.

My hot take on Grant Green’s tone not being great on all albums also makes this a good example because here he sounds quite different from some of the later examples, that might also be why this album is my favorite, though having Joe Henderson on Sax also doesn’t hurt!

Mixing Major and Minor Blues

One of the greatest parts of the Jazz Blues sound is when you mix major and minor blues and get some of that blues sound but also has some of the expensive extensions in there. That is what happens here in this simple but strong example. Later I’ll go over an example that really leans on the minor blues scale. Check out how he is using a short 3 or 4-note motif and just sitting on the root, but using that to connect the whole thing and turn it more than just running the chords. In the 4th bar goes to minor pentatonic to create a bit of tension to drive the Bb7 sound home before the progression moves to Eb7.

Often when you start to play Jazz then you only want to spell out the changes, play lines and add chromatic notes and arpeggios. That is important, but it is good to remember that all the guys we look up to also sometimes plays something really simple. It is about balance.

Grant Green – A Tale Of Two Tones

I’ll show you more examples of this Jazz Blues Mix later.

This example is from Cool Blues, another Bb Blues, and here you can also hear an example with a much thinner tone luckily not so much spring reverb as he has on the Standards album. I suspect that it is a combination of which amp settings and then which guitar he uses, possibly also what the recording engineer decided to do. In these earlier recordings like Cool Blues he is playing his ES330 which has p90s and he showed George Benson that he always sets his amp by turning down treble and bass completely and turning up the mids. I believe he was using a Fender Super Reverb. I do wonder if he wasn’t playing an amp without a mid control, I think most amps didn’t have that in 60s, but I am not sure. The tone is in any case fairly thin even compared to how he sounds in the first example from Solid, which I prefer. I tend to think it is about him not using a p90 from then on, but again I am, not sure. Let me know what you think, I know it is an unpopular opinion that I am not a fan of his early tone…

Check out how minor blues is also nice for Jazz:

Raw Minor Blues

Here’s another example from the album Grantstand which came out in 1961. When I was checking out what year this was from, because it sounded like an early album I noticed something quite mind-blowing: Grant Green Recorded 8 Albums as a leader in 1961!

That is pretty insane! And he was a sideman on 15-16 other albums.

Pretty impressive!

Check out how he starts his solo with some REAL minor blues:

This is all Box 1 Bb minor blues,

the only thing that doesn’t make it something Stevie Ray Vaughan or Clapton could have played is that he isn’t using any bends here. He stays with this sound and elegantly transitions into a solid Bebop line that I think also illustrates something that often is analyzed wrong on m7 chords, especially from this period.

It’s Not Melodic Minor

Check out how he is really just sliding into that B to go the G7 (play) and it is not just scale or arpeggio there is immediately a trill in there as well.

That Cm7 line really shines, it is simply a beautiful Bebop melody with that skip and the enclosure! (PLAY) Often you will hear people analyze that as Grant Green playing Melodic minor on Cm7, because there is no Bb in there but you do have a B.

That isn’t really what is happening, it is just an enclosure of the root with a chromatic leading note.

But as I have said in other videos: If you are trying to analyze and understand a lick or a melody then the answer is probably not a scale. That is just what notes are used and a random set of notes from the scale won’t sound that great. There is always more going on.

Let’s check out some motivic stuff with rhythm and maybe a line George Benson stole from him.

Melody and Rhythm

George Benson plays this exact turnaround in his Billie’s Bounce solo,

right t the spot where the studio lost power and the tempo gets warbly. I don’t know what you think, but I think it is a nod of gratitude to Grant Green.

Check out this pickup from his solo on Blues For Willarene:

 

I just wanted to include that. This Blues is from Grant’s First Stand which is another of his albums recorded in 61.

The main reason I am including this is this next phrase:

So again mixing the Major and minor blues sound setting up a motif (play) then he changes it a bit, mostly by moving it so the rhythm is more on offbeats.

then the next version uses a higher note and morphs into this motif which is all on one string, and he works with that going to Eb7 and back.

Another Intro To Jazz Blues: Joe Pass

The way Grant Green works with the rhythm in developing this motif is phenomenal! You can learn so much from playing these solos! Another solo that both defines great Jazz Blues and taught me a lot is the track “Joe’s Blues” from the album “Intercontinental” Check it out!

It is by far my favorite Joe Pass album to listen to and that Blues is incredible!

This Jazz Blues Solo is Perfect And Nobody Is Talking About It

 

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Jazz Chords – You Can Make It Simple And Unlock Amazing Sounds

A few years ago I was teaching a student and in the lesson, we were talking about Jazz Blues comping. He was frustrated with his own playing and said that he could not get it to sound right. Explaining that he wanted it to sound like my comping, but that I was using way too many chords and playing very complicated stuff.

To me, that was a bit surprising, because I was trying to demonstrate comping by keeping it simple and while we talked about it I started to realize that you could look at what I was playing as being a simple approach, but it could seem very feel complicated approach, and what really needed to change was the way you think about it.

Getting The Learning Process Right

When you are learning something new then the information can seem overwhelming but often this is also because you don’t have a way to organize what you are learning, and that means that you have to remember a lot of isolated bits of information when really this is about seeing how the pieces fit together as a whole. When it comes to Jazz Chords then, with a bit of practice, you can lean back and play and think about how it sounds instead of trying to figure out how to add a chromatic passing chord to the II chord of the secondary dominant that is added before going to II, because you are really just sliding into a chord.

So, in this video, I want to teach you that same lesson using a basic Jazz Blues, and also show you how to keep it simple and get it to sound right. I also want to show you how crazy it gets if you over-analyze because I think that is both funny and a good demonstration of how NOT to try to use music theory, something that so many get very wrong and that really gets in the way.

Start With Easy Chords

The first thing I told the student to do was to take a Blues in C and then dial all the chords back to 3rd and 7th. I had already taught him the basic shell-voicings and actually also some more complicated chords. That will give you this:

You ALWAYS want to be able to take the chords back to their most simple form and then build it up from there, as you will see this incredibly powerful.

This was close to how I was demonstrating comping the blues, but I was embellishing it a bit with some passing chords, doing things like this:

Here I am about using some approach chords and sliding into the chord, nothing that I consider too complicated. In my head, I am mostly thinking about the basic version of the chords:

But you can (over) analyze this and then it becomes this:

But that is certainly not what I am thinking, that seems way too complicated, and I think that is important to be aware of that because I am really just moving up or down a half-step and then back to the main chord. When I play I am using that to create some movement while still playing the chords in a way that you can hear the song and the harmony. You have to remember that the goal is to play the song and make that interesting in some way.

Nobody thinks complicated stuff when they play, by the time you play then it is a sound, it is something you are familiar with and it is certainly not you solving mathematical equations while trying to comp a blues. Nobody has time for that.

The Real Bonus

In this case, I am just using the 2-note chords, so I move around a bit more, and you want to explore doing that a bit, but the biggest bonus from simplifying and tying everything you play to a simple voicing is something like this, where I still just tie it all back to those original 2-note voicings:

What you see here is that I am still thinking from the basic 2-note chords, but I am using other melody notes not just moving the entire chord around.

So I showed the student how the C7 can be expanded into this:

and for the F7 you have this:

And the trick is just to think of it like a scale version of the chord, material that you can use to improvise while comping.

So a phrase like this:

Is not me thinking all these chords:

Because if you are comping and making music with the chords then it is more compact and efficient to think of it as this chord with this melody added

Because that way you can improvise with it and you are not drowning yourself with information and different chords when there is really only one chord in the song. (show C blues)

There are not 15 different chords at that point in the song, it is just a C7 or an F7.

This is also why I very often just write the basic chord quality no matter what extensions are in the chord, because That is the important information, and if I was comping the song then I am very likely to play something else in the next chorus.

How You Work Practice This

For this to work you need to have your basic shell-voicings and or 2-note voicings down and be able to play them through the song, then you want to sit down and go through the chords exploring some options for melody notes.

Keep it practical: So easy to play and easy to use, don’t worry about skipping some notes, you don’t need to play entire scales like this.

Work a bit on making melodies with each chord and then start using it while comping in a comfortable tempo.

You can even ease into it by only adding a few melody notes in the beginning, 2 or 3 options are already a lot for comping.

Let’s take a look at how to develop some melodies and what to listen for.

Where It Gets Really Great!

Like this, you have a lot of melody notes that fit on the chord, and you can probably hear the harmony in them, so if you want to get better at playing phrases with them then you can take one of the chords and then first just come up with a melody

and then add the chord under it:

Since this is comping and not a chord solo then it pays off to hold back a bit and not play too busy melodies.

Try to think about the rhythm, make sure to use repeated notes since that is a great way to lock in with the groove and even though you have a lot of options then it is good to remember that in comping less is more.

Another thing that works well for comping is to repeat things, when you do that in a solo then it is referred to as motivic development, but in comping that is often called a riff, and having a repeated pattern is also a solid way to glue the whole song together and it is often very nice for the soloist to play on a very stable background like that.

Wes and I Are Checking Out The Same Things

I often imagine some big band phrases that will get you on the right track. Recently I discovered that Wes also did this if you listen to his “shout chorus” on the blues “The Thumb”

And Wes learned this from playing and listening to big bands, so checking out some Count Basie to get some ideas on how to play great rhythms and melodies is not the worst idea ever.

All The Pieces Together

With more melodies notes you can still add all the tricks of sliding into the chord to add some chromatic movement and in that way get something that sounds like this:

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Jazz Blues – How To Solo Only Using Triads And Why It Is Powerful

Why would you want to play a Jazz Blues just using triads?

When you have one triad per chord then that is only 3 notes:

  • That It is easy to remember
  • It helps you play better melodies and use more creative rhythms and
  • It is an amazing foundation for more complicated lines.

And finally, It also kind of fun to mess around with.

What is a Jazz Blues?

Let’s take a blues in C. If you take a simple 12 bar blues, the kind that would make ZZ top proud, then that would be these chords:

For a Jazz Blues then there are a few other chords in there, the II V, a dim chord, and some short II V’s:

To keep it simple let’s reduce it to one chord per bar and turn some of the quick II V’s into a single dominant>

Let’s keep it really easy:

For the C7 you can use a C major triad, like this one:

and then you can play solid phrases like this:

The next thing we need to figure out is what to play on the F7, but you probably already know this F7(9) chord:

and the top part of this F7 chord is a Cm triad, so for the F7 you can use a Cm triad.

and you already have a line on the F7, just change one note in the C7 line.

With these two triads you can cover the first two bars of the solo:

This idea of playing a C major and then a Cm phrase on the first two bars is a really great way to connect melodies and is something you’ll hear Parker do ALL THE TIME.

Triads For Altered Dominants

The next chord in the progression that you need a triad for is C7alt.

One way that you often play a chord like this is this C7(b9b13):

Here you have a Dbm triad as the top part of the chord, and that will work very well:

And because it is really close to the C major and the Cm triads then it is easy to make some strong melodies:

The Bonus of Limitation

Notice how you are really using the limitation of 3 notes to get a lot more creative with rhythm and melody. This is something I always liked about limitation exercises: Limiting yourself with one thing actually opens up more options with all the other things that you are not limiting. You will also see another nice side effect once we get to the II V in a few bars.

That Damned Diminished

Now we have the F#dim chord,

and here I will just take a triad in the chord: Eb dim, which is F#dim without the C.

And you can use that in a lick like this:

Notice that you can create the lick by moving the melody on the F7 and play the same melody on the F#dim, and again that also just ties those two phrases in a musical way.

A Scary Altered Chord

Before going on to the II V then there is one difficult-looking chord to deal with that isn’t really that difficult: A7alt.

You can use the same trick as with the C7alt. A7alt could be played like this:

So you have a Bbm triad at the top of this chord, and that triad is going to be a great fit for the chord. You can play that like this:

And then you can create lines like this:

II V Hacking with Triads

Let’s use a hack for the II V Since they are so common in Jazz then it makes sense to figure out these two chords at the same time and make sure the two triads really fit together.

One way you could play the chords would be this:

For the Dm7 that gives you an F major triad and the G7(b9) is an F diminished triad.

And these two fit together very well so they are easy to make lines with and also to create some motivic melodies. Something like this:

What you want to practice with material like this is really just being able to play more rhythmical and clear melodies. It is also a great way to really start getting those nice syncopated rhythms into your solos.

 

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3 Things That Make You Sound Better Comping A Jazz Blues

When comping sounds great then it is actually not because of the chords you are playing. It is more about all the other things that you do with them that makes it work. Things like rhythm, chord movement, and melodies. This video will l help you get started developing your comping so that you don’t get stuck just playing chords and wondering why it doesn’t really work.

#1 The Easy Guitar Trick for Chords

One of the main things that you need to include in anything you play is tension and release. That is the way you make things interesting to listen to and keep people listening.

In this case, this is something that you can add to your comping in a very easy way on guitar, and it sounds both natural and pretty hip. But

 

at the beginning of this example, I am just using the basic 3rd and 7th voicings on the chord but as you can see this works just as well with chords with more extensions.

The principle is really simple; you create tension by moving the chord up or down a half step and then resolve the tension by moving back.

And this works great for the 3rd and 7th shells but is equally useful for larger chord voicings.

Let’s have a look at how you can use tension and release in a different way to make things flow a lot better

Comping in a band

One of the things that I learned a lot from with comping was focusing on being together with the drummer, so really trying to play clear ideas and react to what was happening especially on the snare so that it really becomes like a single instrument backing up the soloist! Of course, this doesn’t really work with a backing track as I use in this video.

#2 Give It Direction and Energy

One of the things that I love about Bebop is how the solo lines flow through the changes and are always moving towards the next chord.

And this is actually built into the harmony, so the chord progressions are really pushing forward which is not always what we focus on when playing the chords.

But it is really useful to always think ahead and try to work on ways to move to the next chord. There are 3 things you can use to get that forward motion.

In the first bar, I am using a melody that is ending clearly on the Eb7 which is helping things to move along.

The next two bars are setting up a rhythm and then in bar 4 playing the 3& really creates tension that wants to resolve on the next downbeat which pulls us to the Eb7

Bar 6 is first a bit of movement with the Edim chord and then a chromatic passing chord on beat 4 that resolves back into Bb7 and in that way adds energy and tension.

So I am using:

  • Melody
  • Rhythm
  • Chromatic Passing Chords

to create a comp that is moving forward, and working on these things with the forward motion in mind can help you get that into your playing.

#3 The Most Important Rhythm To Learn

Jazz is about rhythm, and If you think about it you probably already know that the rhythms that are important are the syncopated rhythms, the off-beats.

One way of really using this in your comping is to work on playing anticipated chords, something often associated with Red Garland, the piano player in the 1st Miles Davis Quintet

Practicing to use this in your comping is something you can do by only focusing on that by setting a metronome to 2&4 and play a vamp, like this:

And once you are familiar with this exercise then you can start to work on using it on the Blues like this

Rhythm is probably the strongest ingredient in comping, or in Jazz in general, and this last exercise is also the one that will improve your comping the most.

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Jazz Blues – 3 Easy Techniques That Make You Sound Better

Most guitar players, and it is probably the same for other instruments as well, know the sound of the blues and can play blues solos. And then you start playing Jazz, and it is all about playing changes and using arpeggios and the right scales, but there is no common ground, and you don’t have a way to combine the two like you hear Charlie Parker, Oscar Peterson or George Benson do.

In this video, I am going to show you some of the techniques you can use to get that mix in there and play Jazz Blues, something that is great on a 12 bar blues, but that will work for you on pretty much all songs.

For this video, I am going to use a basic 12 bar Jazz Blues in F, which happens to also be the key of the transcribed examples which probably says something about how common that is.

The Jazz Blues is pretty similar a straight ahead blues except for the II V in the last line, the cadence to II in bar 8 and the dim chord in bar 6.

The things I cover in this video are applied to a blues and are things you anyway want to be able to do there, but you can easily put it to use on other songs as well. (maybe too much ?)

#1 Riff Melodies in Jazz Solos

B-roll slow bar of parker 1 (maybe 2) chords Bb7 Bdim

This first technique is a way of creating melodies so that you A) nail the changes and B) make a really solid melody over the first few bars.

It is extremely common, and you will find it in most Charlie Parker Solos, and in a ton of other solos and themes.

In the example below you can see a basic phrase in the first F7 bar which is repeated but now the A is changed to Ab on the Bb7. The original statement is further developed in bar 3 and reappears as an altered lick in bar 4.

As I mentioned this is very common in both solos and themes a very clear example is Sonny Rollins’ Tenor Madness

You can see how this theme uses the exact same formula as what I played in example 1 with the main motif and then repeating it in the second bar, only changing the 3rd of the chord to fit the next chord. Then returning to the original motif.

Charlie Parker on Now’s The Time

In a solo, it can be useful to also develop the motif a bit like Parker does on Now’s the time.

In the next chorus, he uses this concept again but is also very creative with it

To be honest I think this is where I learned this, listening to Parker playing Blues.

In Other places in the form

A bonus feature from this way of making melodies is that it works in a lot of contexts, you can use it on the IV #IV dim in bar 5 and 6 of a Blues:

And you can even put it to use on a II V by just changing on note going from II to V

Let’s look at how you phrase the notes and not only the type of melodies you make.

#2 Slides and Phrasing

As you may have noticed bends are not that common in Jazz. Not sure why, but it is likely because the music was invented in a time where the guitar strings were very heavy and guitars had a lot less sustain. Instead, slides are often used, creating a similar sound as the grace notes you hear on the piano.

It is easy to get this type of sound into you lines when you solo. The best place to start is to slide into the important notes in the melody which would be the arpeggio notes.

An example of this could sound like this:

So you can see how I slide into 3rds and 5ths on the chord.

An example of  this a little closer to how you might use bending would be something like this:

Working on using this is pretty simple, just start making short phrases with an F7 arpeggio and experiment with adding slides to it.

Try some of these examples:

#3 Easy Double stops that sound great!

Another thing that is probably also borrowed from the piano is using intervals and double stops. Chuck Berry wasn’t the only one who had that idea, so there are lots of double-stops you can use for Jazz Blues phrases.

Sliding into the 3rd interval that is the upper part of an F major triad. The melody is using the same concept going from I to IV by modifying the motif. 3rds are very practical for double stops and therefore also very common, but there are some other good options as well. First I’ll go over another example and then I will show you how to find some double stops for a chord.

This example is using an A as a lower pedal point and then later returns to the 6th interval to emphasize the first note in that phrase. 6th intervals and tritone intervals like you find in this phrase are also fine options for the F7.

Finding Double Stops for a chord

Zoom in and explain and play – neck diagram! – refer to the different chord shapes

And using double stops as a way of emphasizing a note is really use a simple line using a 5th interval we just found could be something like this.

Level up your Jazz Blues

Jazz Blues Solo Intro Pack

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