This John McLaughlin lesson is an analysis of his solo on the F blues Take The Coltrane. What you will see is that his approach to creating lines is often very different from the usual ways that we use scales and arpeggios and think about melodies that move from chord to chord. In this solo his use of chromaticism, shifting melodies and longer melodic stretches is extra-ordinary and really worth checking out.
John McLaughlin – The Father of Guitar Fusion?
John McLaughlin is among the musicians who invented what we call fusion today. He is known for his extra-ordianry technique, and for mixing jazz with both Spanish and Indian folk music. He has worked with everybody from Miles Davis to Jaco Pastorious and Carlos Santana.
But he also has a strong grasp of more mainstream jazz and in this video I am going to take a look at some parts of his solo on Take The Coltrane, which is a Blues in F. This recording is from an album with Elvin Jones and Joey DeFrancesco where McLaughlin is exploring the Organ trio concept. An album which has a lot of material inspired by John Coltrane.
More John Mclaughlin Lessons
If you want to check out one of my other John McLaughlin lessons then have take a look at this lesson analyzing phrases from his solo on “No Blues”, a jazz blues in G.
The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen
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The Minor Blues is a great vehicle for improvisation and a very common chord progression that you want to be able to comp and solo on. In this lesson I am going to show you two different sounds that you can use in minor blues comping. One of the great things about minor is that the options we have several options when it comes to the extensions or sounds available on the blues.
The easiest way to think about this is probably to link the chords to scales and use that to describe the sound of the chords. This way of thinking also opens up what you can use and gives you more options when it comes to using different extensions on the chords.
The Different Comping Sounds
The easiest way to think about this is probably to link the chords to scales and use that to describe the sound of the chords. This way of thinking also opens up what you can use and gives you more options when it comes to using different extensions on the chords.
Therefore this lesson has three main parts. Two on different sounds, Melodic Minor and Dorian, and one final example which is more open and as concerned with rhythms as it is with the voicings.
Minor Blues Drop2 voicings
The voicings I use for this video are all drop2 voicings and all on the top string set. Drop2 voicings are very practical for playing chords with extensions, both on guitar and piano. I won’t cover the basic Drop2 voicing stuff in this video, but if you want to check it out then maybe have a look at the Jazz Chords Study Guide
Melodic Minor – Rich Jazz Minor!
The best place to start when it comes to Minor sounds is the Melodic Minor scale. Melodic minor is the go to tonic minor sound for Jazz. Dorian, the other topic in this lesson, was added later after the introduction of Modal Jazz. If you check out the original Coltrane solo on Mr PC you will find that it is mostly Melodic minor on the tonic chord.
The first example is using Cm6 and Fm6 for the I and IV chord in the Blues. These are both the most stable versions of chords from the melodic minor scale. The m6 chord is a little more stable than the mMaj7 chord.
Example 1 is a very basic way to play the Blues Chorus, but if you want to expand on your options then it is a good idea to harmonize all the notes of the melodic minor scale with the chords that you need.
Below is the C minor melodic scale harmonized with Cm chords.
And you can do the same exercise with the Fm6 chords:
The Dominant Chords
In the form I also have 3 dominant chords. A C7alt to pull towards the Fm6 in bar 5, and the final cadence with Ab7 and G7alt.
These are all played using the melodic minor scale, so C7alt and G7alt are both altered dominants using Dbm and Abm melodic respectively.
C7 altered:
G7 altered:
The Ab7 is a Lydian dominant so that uses Ebm melodic:
Dorian Sound – Modal Minor Blues
The Dorian sound only differs one note from the Melodic minor sound: It has a b7 instead of a maj7. But the sound of the chords changes quite drastically because of this.
Below is an example of one chorus of Drop2 voicings using Cm7(9,11) and Fm7(9,11) on the I and IV chords. The dominants are the same as in the previous example so they are still using material coming out of the melodic minor scales Lydian b7 and Altered sounds.
Dorian Scale Harmonizations
Similar to the exercises with the melodic minor scales it is also possible to harmonize the Dorian scales with the chords. Here is how this is done with the Cm7 chord
Chord Extensions
With the Dorian scale there are still quite a few ways to color the chords that are used. Here are some of the options you can create from a basic Cm7 voicing.
The basic rules:
The Root can be replaced by the 9th
The 5th can be replaced by an 11th or a 13th
In one example I am also replacing the root with a 13th.
Minor Blues Comping Example
In the previous part of the lesson I was focused on how to find some simple clear solutions with a very basic set of chords. The transcription below is demonstrating how you can put some of this to use adding some more interesting rhythms and tying it all together with top note melodies.
More Drop 2 voicings in Action!
Of course if you want to dig a little deeper into using Drop2 Chords in comping then check out this lesson on using Drop2 voicings and adding Chromatic Passing Chords:
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.
