Tag Archives: grant green

5 Easy Solos to Learn By Ear and Boost Your Jazz Guitar Skills

Learning to play Jazz is a huge challenge, and when I started out then I spent a lot of time working out some solos by ear which taught me a lot of things, and also a lot of things I didn’t realize I was learning. In this video, I am going to recommend some good solos if you want to get started learning solos by ear, some I checked out myself in the beginning and some that I have use often with students, and along the way, I am going to talk about what you learn and give you some tips about how to learn from by ear.

The most efficient way to learn what is probably a lot of the most important things in Jazz is to learn solos by ear, what we often call transcribing even though you might not really want to write them down, but I will talk about that later. Among other things this is something that helps you improve: Swing, Timing, Phrasing, Dynamics, Shape, Contrast, Build up, Technique, Fretboard Knowledge.

This is pretty difficult to get started with, and getting sensible suggestions that help you get started with this is something that there are nowhere near enough recommendations for. I will go over some more tips later in the video, but If you are new to Jazz then don’t start by transcribing Charlie Parker on Donna Lee or John Coltrane on Countdown, find some short and easy examples and build your skills so that you give yourself the best possible chance to develop this ability. Otherwise, you are just going to get frustrated and fail

The Conga Conundrum

The first solo is one that I did not check out when I was learning Jazz, in fact, I somehow missed Kenny Burrell almost completely for some reason and didn’t discover him until much later, but this is the opening track from a truly iconic jazz guitar album: Midnight Blue. A weird side-step here, but In the early 60s everybody had to add conga’s to their jazz albums. You can hear that with Pat Martino but also with Wes (El hombre and Cotton Tail)

I wish somebody could explain to me why they did that?

Kenny Burrell – Chitlins Con Carne

This is one of the first solos that I give to my students, mainly because it is just a medium 12-bar blues in C, not even a Jazz Blues because there is no II V. Kenny Burrell is mostly just using C minor pentatonic and you can play it mostly in the Box 1 pentatonic position. The lines are great, so you learn how he is using a lot of interesting techniques, melodies, and phrasing.

On the recording, Kenny Burrell is comping himself, with the C7#9 but to make it easier in the beginning then I usually tell students to leave out the chords, just to make it simpler. In a way, the fact that Kenny Burrell plays the chords really helps make the whole thing easier to learn, because it is keeping the phrases compact, and with a clear beginning and end, divided by the chords.

This solo is very easy, and I tend to use it to help people get started transcribing and really get used to how it is to learn a solo by ear more than trying to teach phrasing and vocabulary, but of course, you do learn a lot of other things while checking out the solo. Starting to get used to learning by ear will help you pick up a lot of things so much faster, so that is extremely important and useful and that is important enough to see learning this solo by ear as an independent goal.

I’ll talk more about some of the things you want to do when you are transcribing solos later in the video.

Let’s take another example which was one of the very first solos I ever learned played by no other than the father of Jazz Guitar!

Charlie Christian – Grand Slam

Sometimes you learn a solo just because you are curious about what is being played and why it sounds like Jazz. That was the main reason I checked out Charlie Christian’s Grand Slam solo. At that point, I had an idea about what it meant to solo over changes but I hadn’t figured out enough examples to really know what to do and how it worked.

This 30-second 2-chorus blues solo by Charlie Christian is a great study in especially rhythm. Charlie Christians playing here is bebop-related, but the lines are as much swing language as they are bop, and they are great clear examples of that. Often having rhythms like this in your playing is really overlooked, but it will really boost how you sound if you work on it.

This was on one of the first Jazz CDs that I ever bought and I sat down and learned this solo in a day to figure out what was going on. At the time I was tuning my Strat down a half step and not being familiar with Jazz found the key of F for a blues a very odd choice (and I was in fact playing it in F# of course), I have since become more used to playing Blues in F, maybe even more so than in E…

Two other guitarists, that I checked out a lot, both talk about Charlie Christian as their main influence: Wes Montgomery and Jim Hall. Jim Hall even credits the Grand Slam solo as the reason for him getting into playing Jazz.

Grant Green – Cool Blues

Another solo that I picked up along the way as a teacher was Grant Green’s solo on Cool Blues. Grant Green is a great resource for learning Bebop on guitar and most of my students have had his solos as homework.

This solo is on Green’s “Born To Be Blue Album” and it is full of the typical strong Bebop Grant Green language that is so useful to check out and also very playable on the guitar. I imagine he got it straight from Parker, but I actually don’t know. This is a practical solo because the tempo is relaxed and the solo is not that long.

A bonus to this recording is that Grant takes an extra solo before the last theme, so if you are in the zone you can check that out as well.

Don’t forget to like the video if you find this useful, that is a huge help for me and the channel.

Tips for Transcribing solos

There is a right and a wrong way to go about learning a solo by ear, and here are a few things you want to pay attention to and try to get right when you are learning a solo.

Listen To The Solo (And Then Listen To It Another 10 times)

This can not be understated, the more you listen to the solo the easier it will be for you to learn to play it, and trust me, you will probably save time if you first just listen to the solo a lot, and I mean REALLY a lot! In fact, just listen until you can sing it.

Know The Song

Solos in Jazz are generally on a form, and if you know the chords where they are in the song then you are going to have a much easier time learning the solo and hearing what is being played, simply because you know what that part of the song sounds like, for example, if you are transcribing a solo on Just Friends and knows that it goes from Bbmaj7 to Bbm6 then it is easier to figure out what is going on.

Learn Phrases Not Single Notes

If you want to remember what you are learning then it is important that you start thinking of the solo in phrases and learn it phrase by phrase. That way it is going to make more sense and be a lot easier to get into your system. It is similar to how you don’t try to learn a language word for word, but really try to learn to say something.

Don’t Write It Down, Focus On Playing The Solo

I think it is often overlooked what is most useful in learning a solo, because I don’t think it is the exact phrases or notes. It is much more about the way the phrase sits on the groove in this performance or the exact phrasing and subtle things like that don’t make into a transcription, so you are better of learning it by ear and memorizing it like that instead of writing it out and then playing what is on the page, which is really more of a reading exercise that leaves a lot of information behind.

Wes Montgomery – Four On Six

Four on Six is probably the most famous Wes song, and the first recording off “The Incredible Jazz Guitar” album is a great solo to check out for some of the things that you definitely want to learn from Wes:

Melodic and short phrases, motivic development, Call-response, rhythm. It is all in there.

For this solo you can also leave out the octave and chord parts as they are more difficult, just learning the first few single-note choruses will already teach you a ton of great stuff.

Learning Wes solos taught me a lot about phrasing and being melodic but still swinging, and the clarity in his melodic ideas are worthwhile checking out for anybody who wants to play Jazz. I ended up having a year in my study where I was always learning Wes solos and got through most of Smokin’ at The Half Note and a lot of other songs as well.

If you want to check out some of my videos on Wes solos then there is a playlist in the video description: Videos analyzing Wes Montgomery solos

George Benson

I have always loved how George Benson could make pretty much anything sound like fantastic Jazz phrases, and this solo on “The Borgia Stick, off The George Benson Cook Book” is no exception. This was also one of the first solos that I say down and obsessed about when I was just starting out, and I am still a bit surprised that I managed to figure out the chords in there.

This solo is great if you are not that at home in Jazz Harmony. The lines are surprisingly simple and most are really just A minor pentatonic stuff, but learning to play them and add all the beautiful rhythms and grace notes in this Benson solo is going to be great for your playing. His use of intervals and chords is also amazing and still fairly simple.

Honorable Mentions

Of course, there are many many solos to check out, and these 5 are just the tip of the iceberg. If you have great suggestions for Jazz guitar solos to learn then leave a comment, maybe we can make an even longer list of recommendations to help learn Jazz..

A few others that I spent time on, in the beginning, deserve a mention as well:

Jim Hall on Stella By Starlight, in fact, that whole first Jim Hall Album is a masterclass in swinging rhythms and motivic development, but the Stella solo is fairly easy to check out.

Another Stella solo is by Ulf Wakenius. This is fairly unknown, and it is off a Niels Henning Ørsted Pedersen album called “To A Brother” and Ulf Wakenius is playing a lot simpler than what I am used to from him, but both this solo and the one on Alone Together are great and really helped me out in the first few months when I had trouble telling what was the theme and what was the solo.

Another thing that you should not underestimate is the wealth of great solos that are on YouTube and not on any albums. A Solo that I always found to be a great example of Bensons playing is this really simple 1-chorus solo on Take The A-train from some obscure television show in the 70s. Lots of Blues but only great phrases! There are some hidden gems out there!

Support The Channel on Patreon

Check out the Patreon Community that keeps this channel going

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

If you have any questions, comments, or suggestions for topics then, please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram, Twitter Google+, or Facebook to keep up to date with new lessons, concerts, and releases.

5 Jazz Blues Licks – How to use Transcribed ideas

In this video, I go over 5 longer Jazz Blues Licks that incorporate different ideas that I took from transcriptions of great guitarists such as Grant Green, George Benson, Charlie Parker(not really a guitarist, but he wished he was), Wes Montgomery, and John Scofield.

These examples really highlights how I work with material that I have transcribed, and most of them are in fact in videos I have done on these artists.

How I use transcribed licks

For me using larger chunks of a solo from somebody else was never really working. I always preferred to work with small phrases or even the concept behind a phrase and then use that to make my own version of that idea.

In these examples, I am mostly using small bits and pieces of other guitarists licks. This is mainly because the relation to the original would maybe be too unclear.

Grant Green and his great triad lick

This first example uses an opening phrase that is quite common with Grant Green. He uses this 2nd inversion triad in both Miss Ann’s Tempo and I’ll Remember April.

For the rest the line is using some of the great ideas that we use in Blues influenced jazz with the sliding leading notes and especially approaching the 3rd from a half step below.

Another typical jazz line is the use of the G augmented triad to help pull towards the C7.

George Bensons Major Blues Genius

A comment on my recent video on George Benson went on and on about how his use of major pentatonic lines was dreadful. A very strange idea since most of the guys (like Parker and Coltrane) use this sound a lot. And besides that I can’t imagine not wanting to be able to play Blues phrases with the soul of Benson.

The quote in this phrase is in the middle of the line. It starts in bar 2 and continues into bar 3. In the original(in F) he playes the upbeat in quarter notes. Here I turned that into 8th ntoes.

The phrase in bar 4 is a Parker line similar to one of his lines in his original version of Billie’s Bounce.

Kenny Burrel and Wes Montgomery

The first phrase (another major pentatonic 🙂 ) is from Kenny Burrell. The descending 6th at the end is really beautiful. On the C7 I am using a double stop trill that you can hear both Benson and Montgomery use. Wes plays a whole chorus in No Blues off Smoking at the Half note with this phrase. Here I am putting it on the IV chord rather than the I where both Benson and Wes use it.

Scofield’s Amazing Arpeggio Ideas and slides

This example is beginning with a lick that is not exactly taken from a Scofield solo but is more “in the vein of” The way he uses different types of legato techniques to create a really nice flow is beautiful, even if it is a little tricky to play.

The phrase in bars 3 and 4 is more of a direct quote from Scofield but the 2nd half is my take on developing the original as a motif. Here I take the opportunity to also turn it into a more altered sound.

Imitating Wes is always worthwhile

This example is a take on a Wes line from his (unbelievable) solo on Four on Six off the Smoking at the half note album. The original is on 4 bars of G minor, but here I have taken it to G major keeping the basic shape and changing the notes around.

What to take away from this lesson

I think these examples describe how I work with material that I have transcribed. Some of the examples I might really play in a solo and some that I might work with while practicing to develop them into more personal takes on the lines.

Developing your own material is important (and fun) so I’d suggest you do the same.

Supercharge your Blues playing!

If you want some more jazz blues examples then check out this WebStore lesson:

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples here:

Jazz Guitar Insiders Facebook Group

Join 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Grant Green – How to Bridge Bebop and Blues

Grant Green is the master of mixing Bebop with Blues and playing Swinging rhythms. This video is taking three licks from a solo as an example of the Grant Green Guitar Style. His unigue combination of great rhythms, bebop chromaticism and bluesy simplicity has inspired jazz guitarists for decades.

The Grant Green video 

The three phrases I go over highlight the mix of blues and bebop, the great cross-rhythms and of course some of his other swinging rhythmical ideas. I talk about them and also try to give some suggestions on how to practice playing like this.

🔴 Subscribe for more free Jazz Guitar Lessons and Videos: https://bit.ly/JensLessons

☑ Support me on Patreon: https://www.patreon.com/jenslarsen/

✅DOWNLOAD A FREE E-BOOK with 15 II Valt I licks!
Sign up for my newsletter:
http://jenslarsen.nl/sign-up-for-my-newsletter/

▶ Check out my latest video: https://goo.gl/G16gVx