Tag Archives: jim hall

The 10 Jazz Guitarists That You Need To Know

Listen To Jazz!

Listening to jazz is an important part of learning jazz and also one of the things that can speed up that process. It’s essential to check out the right people. In this video, I’ll give you a list of some of the jazz guitarists that I think you really need to be familiar with. I’ll go over some of their famous albums and, if sometimes that’s not my favorite, I’ll talk about why and give you an alternative as well. Let’s hope that doesn’t offend anybody.

#1 The Underdog of Jazz Guitar

I’m going to start with somebody who I think is sometimes a little bit overlooked and underrated very often and then move on to one that I accidentally skipped the first time around, but I’ll get to that later. Jim Hall, I think, is actually sometimes a little bit overlooked, and that’s a pity because he is an amazing jazz guitarist and also somebody that I’m still transcribing to this day. You can learn so much from his inventive melodies and his fantastic iron-strong rhythm and timing.

The Jim Hall album that I recommend you check out is his debut album, simply titled Jazz Guitar.

It’s in a trio with bass, piano, and guitar. His playing on this is super solid, very traditional, but at the same time also kind of giving us hints at what’s to come because he really invented modern jazz guitar. A funny side note about his debut album is that it was, of course, released without drums, but then later, because of the success of people like Kenny Burrell and Wes Montgomery (who will appear later in the video), they actually overdubbed drums on it and re-released it later. Now I’ve never heard that version, that might be better, but I am kind of curious how that sounded.

Playing In Taiwan

As you can see, I’m in Taiwan. I’m performing at the Taichung Jazz Festival this Saturday with Nick Javier and his band,

and I thought it would be fun to try and shoot a video here, even if I’m shooting on location. So that’s not something I’m used to, I’m learning, and maybe the quality is not what you hope, but at least you get to see a little bit of some of the parks in Taiwan. And I thought this was a great place to shoot because I’m, of course, sitting next to a colleague, and he’s getting the attention that he deserves.

#2 The One I Didn’t Know About

With the internet, it’s becoming super easy, barely an inconvenience to check out any album or track. Look it up on Spotify or on YouTube and listen to it, and that wasn’t the case when I was starting out. I was really depending on the recommendations of my teachers and the people that I played with. Even then, if I knew who it was, I still had to find a physical copy, so a CD or an album to listen to, and that’s the reason why I didn’t really check out Grant Green in the beginning. Nobody talked about him, so I wasn’t aware that he existed, which is really a pity because he is a great place to start if you want to learn jazz.

 

If you listen to him, you will hear clear, playable, strong bebop executed in a way that you can actually fairly easily check it out on guitar and learn from it, something that we don’t have a ton of examples of. I’ve talked about in other videos how I don’t really like Grant Green’s tone on those earlier albums, so my favorite album is a little bit later in his career. It’s one of the Blue Note albums, it’s solid,

but that’s also with Joe Henderson and McCoy Tyner. There’s just so much great music on that album, definitely worth checking out. If I were to recommend an earlier album, probably Grant’s First Stand is a good one.

It’s pretty early, it’s in ’61, I think, but that’s Grant Green in an organ trio. That’s really also an album with some fairly famous Grant Green solos that you want to check out, even if I think that the guitar tone has maybe a bit much pick attack and way too much spring reverb.

#3 I Wanted To Be Him When I Grow Up

Joe Pass is a huge influence on my playing. I really check out a lot of his stuff and also some of his books. I’ve made a video about his guitar-style book, which I think is a great method for learning jazz vocabulary.

But his most famous album is probably Virtuoso, which is a solo jazz guitar album.

And to be honest, that’s not my favorite album. I don’t actually like that album that much. I don’t listen a ton to solo jazz guitar. I tend to be much more focused on jazz where it’s about playing together in a group.

So my favorite Joe Pass album is Intercontinental,

which I think is a great example of his playing. I’m pretty sure they didn’t rehearse anything and they’re just going into the studio and recording some standards, but the result is amazing.

I have another video where I’m breaking down a jazz blues off that album and you definitely want to check out that album. It’s Joe Pass at his very best.

#4 The One I Ignored

The first time I heard Barney Kessel’s playing, I was actually everything but impressed, but that was just because I was listening to the wrong stuff. The albums that you want to check out from Barney Kessel are the Poll Winners albums. They’re actually sort of the first jazz guitar trio albums that are out there.

I think there are three of them and they’re with Shelly Mann, Ray Brown, and Barney Kessel. They’re amazing albums. It’s actually kind of hard to screw it up if you’re in that company, but that’s where you want to start if you want to hear some truly great Barney Kessel.

#5 The One I Studied

I didn’t think about this when I was preparing the video, but actually, I’m recommending really a lot of debut albums. And this is another one. When it comes to Pat Martino, the album that you definitely have to check out is El Hombre, his first album.

He’s also coming out of the organ trio tradition. The whole band is sort of built around an organ trio, but he’s adding a flute player. He’s also adding some percussion. So in that way, it’s not completely just organ trio, but that’s the basic sound. It’s an amazing album from, I think he’s 22 at the time.


You need to check it out.

#6 Check Out The Old Stuff

George Benson is probably the jazz guitar player that I think has the best phrasing. It is really amazing how good he sounds most of the time, even if maybe some of the later stuff where he’s like focusing more on being a vocalist than a guitar player is not really to my taste. And don’t get me wrong, I think it’s perfectly fine. You should do whatever he wants. Those are just not gonna be my favorite albums.

So my favorite albums from him would probably be Cookbook,

which is really just a sort of a picture of where he came from, the organ trio and those groups playing in a quartet, which is like an organ trio with a saxophone player. That is an amazing album. Everybody is playing really solid solos. Another one that’s really great to check out that I also want to mention is Giblet Gravy,

where he’s actually playing with Herbie Hancock, Ron Carter, and Billy Cobham. That’s where the famous version of Billy’s Bounce is found, which I’ve talked about many, many times and also made an entire video on.

There Are More People To Check Out

For this video, then I kind of ended up just going with the classic guitar player. So really the people that are active in the ’50s, ’60s. And of course, there’s a lot happening on jazz guitar afterwards. And actually jazz guitar becomes really an important instrument from the ’70s on and maybe it’s not as much an important instrument in the ’60s. Let me know if you want another video where I talk about sort of more of the modern guys. So Schofield, Metheny, Rosenwinkel, Gilead Hickselman, Jonathan Kreisberg, all these guys. There are a ton of amazing guitar players out there.

#7 Skipped This One By Accident

Another guitar player that I wasn’t really checking out because nobody recommended that I listen to him and nobody told me that he existed is Kenny Burrell. And that’s really a pity because he’s of course also really an amazing jazz guitar player to check out. His most famous albums are probably the one with Coltrane and then also the Midnight Blue album.

Now, both of those are not my favorite albums. I’ve listened really a lot to this Jimmy Smith album

where he is actually just a sideman, but he’s of course featured really a lot and he’s playing on this is so amazing.

#8 The King Of Jazz Guitar

I think we can all agree that Wes Montgomery is the most important and the most influential jazz guitarist that we have. So it’s kind of difficult to sort of pick a favorite, but if I have to pick a favorite, my choice is actually pretty cliché because I’m gonna go with Smoking at the Half Note.

That’s the album with the Wynton Kelly Trio and with that combination Wes and Wynton Kelly Trio, it just can’t go wrong and it certainly doesn’t. It’s an amazing album. They all play great, but especially Wes is really playing some amazing solos and I’ve learned a ton from checking out a lot of solos of that album. If I was to recommend another album, then I think you can kind of check out a different side of Wes’s playing by listening to an album like Boss Guitar because there you hear him playing in an organ trio which is actually different.

It’s also a little bit earlier. Still an amazing album with a lot of great solos to check out.

One thing that I do want to point out is that to me, what makes Wes great is not that he’s playing with his thumb or that he’s playing a lot of octaves or chord solos. That’s technique. He’s great. He sounds amazing. It’s not about that, but I think what really makes his solo so amazing is the clarity of the music that’s in there. So he often plays simpler phrases, but he will then have that one phrase is followed by a phrase that is either a response or a development of what he just plays. And that really connects the whole thing. And that’s actually fairly rare with guitarists or with jazz musicians in general. And that is what makes Wes a genius to me.

#9 The 1st Secret Recommendation

Because I was depending on recommendations from my teachers and the people that I played with, not the internet, then there are a few guitarists that I listen to really a lot that are maybe not as famous, but there are some really great albums that I definitely think you want to check out. The first one I want to mention just shortly is Lorne Lofsky and his debut album, another debut album, which is It Could Happen to You.

That is such an amazing album. He’s always great, but that album is definitely worth checking out. And I’ve listened to that so much.

#10 Another Secret Recommendation

Another album that you want to listen to is a Victorious album that right now I can’t remember the name of, but I’ll put the cover on screen so you can check it out.

The way he plays here is so beautiful, especially that first standard, I Heard You Cry Last Night is such an amazing song the way he plays it. And it’s such a beautiful feel. You definitely want to check that out.

But besides listening to the music, then you of course also want to start to find solos that you can learn by ear. That’s the best way to really develop your phrasing, your swing feel and your timing. But you also have to make sure that you’re not starting with something that’s too difficult, that you’ll just break your neck or that you will get demotivated by. So to help you with that, check out this video, which goes over a few solos that are pretty easy to learn and not too long and definitely will help you develop your playing

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

Check out the community on Patreon:

https://www.patreon.com/posts/93328142

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

 

Jazz Guitar Insiders Facebook Group

Join 15000+ 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 send me an email or leave a comment here or on the video. That is the best way for me to improve my lessons and make them fit what you are searching for.

 

Why They Sound Better Than You Every Time!

What is the difference between a good solo and a great solo? And what are some of the skills you want to develop to go from playing the right notes to really playing a great solo?

There is a set of 3 skills that especially a beginner won’t notice because you are too busy finding the chord tones and playing chromatic notes, and you want to start working on this from early on if you want to play solos that make sense and are not just random phrases.

The Problem With The Right Notes

When I was getting started playing Jazz then I practice scales and arpeggios since I had learned that I needed those to play Jazz. The problem I had with my solos was that even if I could play the right notes then it still sounded very fragmented and messy because I played everything per chord. Let me show you how that is the opposite of how George Benson plays. My playing at the time was like this:

 

These are all the right notes. but as you can clearly hear then it doesn’t make any sense at all because I am:

#1 Starting a new idea every bar

#2 Always Starting on Beat 1

#3 Stop playing so I Can Think Of The next chord

George Benson Gets It!

So what is the difference? He is playing from one chord to the next, so his melodies are ending on a note that clearly tells your ear that the chord is changing. In this case. it is super clear by hitting the 3rd every time:

Getting stuck with just playing something more or less random on each is a natural part of learning to play changes, but you can quite easily get started fixing it, and that is a really important skill to get in there so let’s look at that, and then dive into two other approaches that you hear a lot in the playing of Wes Montgomery and Jim Hall.

Forward Motion

When it comes to Bop-inspired Jazz, then a core principle in the solos is that often the melodies are dense with a lot of notes and are really pushing forward to the chord changes, similar to what you heard in the George Benson example. This is not that different from how Bach wrote music even if Jazz uses different harmony and also some “extra” notes here and there.

Hal Galper wrote a good book about this calling it Forward Motion

which is a good way to describe it. The simple version of the concept is that you practice playing lines that end somewhere, so target notes. The notes in a solo line are not just random pitches against a chord,

they should fit together as a melody that moves to the next chord. Which is what you heard in the Benson example.

But there are some things that you can get wrong when you are working on target notes, so here’s a suggestion for getting started, and actually you should consider buying that book.

Choosing Target Notes and Practicing

For finding the right target notes then you sort of have to forget what you learned when you started checking out Jazz chords.

I am sure you have had lessons telling you that when you play chords then you just need the 3rd and the 7th to get the sound of the chord across. That would also suggest that you can use those two as target notes, but that is actually not really true.

Let’s look a II V I in C major:

The 3rd of the chord is still a really good option, as you heard in the George Benson example,

but the 7th is often a bit vague, and in the beginning, you want to train your ear by having very clear notes that tell you that the chord has changed.

On Dm7 then the C doesn’t really sound like a Dm7 on it’s own, it sounds much more like a C major chord, so having that as a target is going to be much more difficult.

The 5th, A, is however a very good target note instead, which is sort of the first note you would throw out of a chord. This is true for Cmaj7 as well where the 7th, B will really just sound like you are not resolving the V chord in a II V I. Of course, you can play melodies that make these notes possible, but as I said, you want to keep it easy to hear in the beginning.

Let’s say that we keep it easy and play the 3rd as a target note on all the chords, just like George.

You want to practice coming up with Dm7 lines that play towards and end on a B, a simple version could be something like this:

Or like this:

 

These are of course super simple, and I don’t actually have to start with the F on the Dm7, but I think you can hear how the melodies are naturally moving towards the chord change. Before we get to the Wes and Jim Hall examples then let me just show you how you can easily make it a lot more embellished with trills, leading notes etc:

So here it is a little less clear and the target note is often moved to the 4& which also makes it a bit lighter, but that is really just the next step to work on and it is the same concept.

How To Practice Forward Motion

If you practice soloing like this then you will get a lot better at creating lines that have a flow and that don’t sound like random things copy-pasted on top of the progression. I would suggest starting with keeping it simple composing lines and then gradually going from improvising over a basic turnaround rubato into playing in time and then taking it to some songs.

This skill is essential for anything Bop inspired, but the next two are maybe even more powerful and less Jazz specific. The first one is in everyone’s playing, but Jim Hall is truly a master at this!

Make People Remember Your Phrases

What Jim Hall does in this solo is probably the strongest melodic principle that we have, it is at the core of so many great solos and great compositions.

You first have a motif being repeated and developed over the Dm section of the song. He then rounds this off with a very chromatic line on the Aø D7 before starting to work with a short intervallic motif that is moved around in triplets.

Check it out:

So this is all over Jim Hall’s playing, but Wes uses this as well:

Here are a few very clear examples from Four on Six.

Clear, but still changing the rhythm on a simple 4-note motif. Notice that he plays it 3 times and then sort of finishes the sentence with something else. That is very common.

Both Wes and Jim Hall uses forward motion and motivic development, it is not one or the other, some of Jim Hall’s motifs have forward motion. Beethoven and Mozart knew how motivic development worked as well. The effect of this as a listener is that you hear something that you recognize but it is not just a loop, it changes and stays interesting in that way.

How To Practice Developing Motifs

The first important step is that you want to recognize these things when you listen to music,so try to listen to solos that you know and that you like and recognize the motifs in there. Again the way to practice this is to solo and try to stick with motifs when you improvise, so start rubato and play a short phrase then imagine how this phrase should move through the changes. Later you can start just sticking with a motif over a song and see what you can do with it.

I sometimes see comments on YouTube that want to attribute Wes’ playing to magic or some other vague term. I think that is surprising when his genius is, to me anyway,  the clarity of his strong melodic ideas. Can you be tone-deaf for melodies like melody-deaf?

Wes Montgomery uses another melodic technique quite often, and that is also a great strategy for making your solos a longer story.

Have A Conversation With Yourself

I often talk about how music is a language,  and music is a form of communication, a place where conversations happen.

And this can also be in your solo where you are having a conversation between phrases, what is often referred to as Call-response.

Check out how Wes does this:

He actually also has a great example of this with octaves from the earlier recorded version:

So this is about hearing different phrases as a back and forth between two sides.

Bebop 101 for Guitar!

Another guitar player that is really great at this and has some amazing lines to learn from both in terms of solid bebop and motivic development is Grant Green, and if you check out this video then you can learn something about how he creates melodic, playable, and beautiful bebop lines. Especially since it is bebop but not too difficult for guitar!

I Wish I Had Checked Out This Guy! His Solos Are Jazz 101 On Guitar

Get the PDF!

You can also download the PDF of my examples here:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

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

 

Jazz Guitar Insiders Facebook Group

Join 14000+ 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.

I Wish I Could Play Fast Jazz Solos Using This Approach

We NEED to talk about this because it is outrageous that people lie to us like this.

I am sure you have heard how Jim Hall had this text on his business card:  “Won’t play loud, can’t play fast”

Which, kind of, fits his style. His playing is relaxed with an incredibly strong time, good phrasing, and he is very melodic, but after taking his word for it all these years, I recently found out that this isn’t true at all!

He actually plays songs at more than 260 bpm, AND he does it very well adding all sorts of stuff at that tempo, how is that “Can’t play fast”?

But it is a GREAT solo with some amazing rhythms, polyrhythms, and phrasing concepts, and there are quite a few things to learn from it, so let’s have a look at that.

Great Rhythms Are Not Only 8th Note lines

Usually, the first thing you think of with an up-tempo solo is fast 8th-note lines, and that is a large part of what is often played. The Hampton Hawes solo that is before Jim Halls solo on this track is also very dense with 8th notes, but Jim Hall goes about it differently, and it is incredible how there are so many nuances to his playing and phrasing even at this tempo.

The song they are playing is Dizzy Gillespie’s Groovin’ High and this is off a Hampton Hawes album from 1958 called All night Session Vol. 1

Jim Hall is so much more about rhythm and melody than just running the changes. As you can hear then he takes his time and leaves quite a lot some space but also chooses to start on a nice chromatic leading note to create some tension.

He is also working a lot more with quarter notes than with 8th notes, which is sort of, a swing thing,

but what you first want to notice is all the detail and variation he adds to the phrasing. He is not just playing the notes, there is a lot more going on.

The first one is the very subtle trill Am7 D7,

but there are also slides on the Ebmaj7 and Gm7 C7 that follow.

Later there are some clever ways of using slides in the melodies, and you can also see that Jim Hall uses some Barry Harris strategies, and a few other tricks to play at this tempo, and I really love how he does this, drawing on both Swing and Bebop.

The Opposite of Bebop

I mentioned earlier how Jim Hall draws from swing as well as Bop, and his main influence was certainly Charlie Christian who is also in between those styles.

This whole section is using lots of repeated notes, which he can only get away with because his time is so good and the rhythmic ideas are strong enough. When he plays lines then it is all except for one spot just using Eb major.

So not digging into the changes that much and relying on other things to make it work, but as you can hear it clearly works. Mainly because the melodies are strong enough.

Is He Faking It?

You might think, well he is just faking it and making it easier for himself, but don’t think that he can’t play the changes, because he certainly nails them later in the solo, and even starts playing polyrhythms on top of the song, something that was not that common at this point in time. This is all a choice that also becomes clear later in the solo.

Swing and That Thing Pat Metheny Stole

Most of the time, I talk about Bebop in the lessons, mainly because that is the large foundation for what we consider mainstream Jazz, but as I talked about in the video on learning solos by ear, then swing phrasing also has a place in there also just to be able to play something that isn’t ONLY 8th notes. They can also be a way to get more out of your syncopation, check this out:

The first part of this is actually just a pentatonic pickup

then playing the 3rd of the chord in half notes

And then he adds an embellishment around that 3rd

But because the first part is so heavy on the beat then once he start adding up beats and then they have much more effect. Filling the whole thing up with 8th notes would not really give you that effect.

Here you can also see that he is just thinking D7 on the Am7 D7, since he comes out on the F# at the very beginning of those two bars and just plays D major pentatonic.

This is really typical both for Jim Hall’s playing in general but certainly also for this solo: Since there are fewer notes then the melodies are clearer

Then you get the Pat Metheny lick, which is then actually a Jim Hall lick that Pat Metheny stole, I am not sure which Jim Hall albums Metheny checked, but I suspect this was one of them. If anybody knows then leave a comment.

I am of course talking about the repeat notes scale run:

The next part is incredibly simple but this way of phrasing such a simple melody and also use a motif across a II V really blew my mind.

A 3-note motif on Gm7:

and how it is developed on the C7:

Let’s check out some polyrhythms and chromaticism

Jim Hall, Does It Thunk?

But first I want to just talk a little bit about Jim Hall’s sound on this which, as far as I can tell, is the same as it is on his debut tribute album just titled “Jazz Guitar” which came out in 1957, so the year before this album, All Night Session Vol 1. Both of these albums are great, this one was new to me and is in fact in a part of a series of 3 albums that all are great, also if you want to hear how Jim Hall comps a piano player, they get that to work extremely well.

As far as I can tell, it is Jim Hall playing his ES175 into a Gibson amp, and the sound is very dry. If you have seen my video on my 175 then you know that I sometimes found myself fighting against the lack of sustain. To me, that is also what you hear on this recording, the sound is compressed, but there is not a lot of sustain.

When I hear the expression Thunk, then this is the sound I think of, it may be that there is not enough bass in the sound, since it is an old recording and also because the amp is very small. If you know a better example then let me know in the comments.

Polyrhythms

So the star here is of course the descending chromatic run that is then used as a part of a 3/4 bar shifting on top of the meter.

Notice how he is emphasizing the #11 on the F7, so really going for a Lydian dominant sound there and just moving that motif around before resolving it back to Eb with a pretty simple Bb phrase and sliding into the 3rd of Eb.

Most of the stuff that he borrowed from swing until now has been about the rhythm, but I think this next phrase also really uses some swing note choices.

Swing melodies

The opening of this 2nd chorus of the solo is really emphasizing the 6th and uses the Eb,maj6 sound, which you could also describe as major pentatonic, since the major pentatonic scale really just a maj6/9 chord.

Eb major Pentatonic:

An Eb major triad:

plus a 6th and a 9th:

But the melody in this case is really going for the 6th in a way that is maybe strong than most places where you hear major pentatonic. You also want to notice that you again have the Barry Harris: Am7 D7 is just D7.

The next phrase falls in the category of making melodies with chord tones and leading notes more than thinking scales. Here it is an Eb major triad with a leading note that also really brings out the #11 on the chord. Very similar to the way I have talked about George Benson, Grant Green, and Charlie Parker sometimes construct their lines.

Get the PDF!

You can also download the PDF of my examples here:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

 

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:

https://jenslarsen.nl/sign-up-for-my-newsletter/

 

Jazz Guitar Insiders Facebook Group

Join 13000+ 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.

How to Improve your vocabulary of Jazz Rhythms

We don’t often talk about is how rhythm is actually also a melody, and how to work on your vocabulary for jazz rhythm. But,of course, a very important part of playing jazz is interesting and great rhythms.

In this video, I am going to go over some great examples of rhythms used in a jazz solo taken from Chet Baker, Kenny Burrel, and Jim Hall. I also discuss how you might want to work on improving this part of your own playing.

Content:

0:00 Intro – Adding New Rhythms To Your Solos

0:14 Getting Inspirations from Kenny Burrell Jim Hall and Chet Baker

0:32 Example #1

0:39 Kenny Burrell – Mastering Medium Swing

1:06 How To Use Simple (but great 8th Note Rhythms)

1:24 Example #1 Slow

1:34 How To Use The Material

1:57 Example Lick #1

2:14 Example Lick #2

2:22 Ideas with more of a concept

2:40 Example #2

2:46 Chet Baker – Strong Rhythm and Simple Notes

3:02 Analyzing the line

3:58 Example Lick #3

4:26 Example Lick #4

4:52 Example #3 

4:59 Jim Hall – Rhythmical Diversity and Strong Melodies

5:36 Motif and a Scale Sequence

5:59 Example #3 Slow

6:07 Getting More Out of the Pattern and understanding why it is great!

6:30 Example Lick #5

6:40 Like the video? Check out my Patreon Page!

Check out more lessons on Jim Hall

Here are a few more Lessons I did on Jim Hall and his fantastic playing that always contains a strong and interesting rhythmical concept as well as beautiful melodies.

Jim Hall – Ingredients Of The Best Solos

Jim Hall on Autumn Leaves – Can it get any better?

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!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ 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, or Facebook to keep up to date with new lessons, concerts, and releases.

Jim Hall – Ingredients Of The Best Solos

Jim Hall is famous for his very melodic and musical solos. In this video I am going over some examples from his solo on Poor Butterfly and talk about how in many ways I think this is the perfect medium swing solo. These examples show you how he keeps changing his lines with ideas involving rhythm, harmony and note choice. I especially like how he re-interprets some cliché lines and makes them much more interesting and surprising.

Content:
0:00 Intro
0:49 Example  1 – In The Groove, In The Harmony
0:58 Analysis
2:32 Example  1 Slow
2:45 What to learn from these examples?
3:19 Example 2 – Double-time lines with Interesting Rhythms
3:26 Analysis
5:32 Example  2 Slow
5:41 Analysis
5:46 Example 3 – Re-inventing a Cliché
7:28 Analysis
7:35 Example  3 Slow
7:55 Example 4 – Using The Blues (Like You Should)
8:02 Analysis
9:56 Example 4 Slow
10:06 Paul Desmond and Jim Hall – Great Collaboration
10:29 Example 5 – Triplets and Adding Chords to the Lines
10:34 Analysis
11:39 Example 5 Slow
11:45 Like the video? Check out my Patreon Page!

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!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

Jazz Guitar Insiders Facebook Group

Join 1500+ 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, or Facebook to keep up to date with new lessons, concerts, and releases.

Jim Hall on Autumn Leaves – Can it get any better?

To me Jim Hall is like the reluctant super hero of Jazz Guitar. In this video I am going to show you some of the ideas he uses on the song Autumn Leaves, both in terms of changing the chords, using poly rhythms and melodies. In my opinion this solo is an understated gold mine of musical ideas.

The devices that Jim Hall are things that you can incorporate into your playing and use to re-interpret the harmony of songs while you are playing them or add more rhythmical variation to your solos. In that way this solo is a really clear take on how you can do a lot with a very simple and famous jazz standard.

Autumn Leaves Reharmonization

There are a few things that Jim Hall and Ron Carter do with the Harmony of the song that really deserves a mention. After that I will break down a few phrases and go over the rhythm and harmony used for them.

The chord progression for Autumn Leaves is this:

The chords are interpreted quite freely through out, but a great reharmonization is used in the 1st solo chorus where the Gm6 is exchanged for a Db7(#11) both at the end of the 1st and the 2nd half of the song.

When you have the root in the melody on a chord you can always do this substitution, and here it works really well at the end of the form since the first chord of the song is a Cm7 so it works as a tritone dom7th.

Another thing that Jim Hall does very often is to substitute the Aø for Eb7#11 this happens mostly in these two places but he also does it in the other minor II V’s. (add transcriptions and audio?)

Example 1 – Tonic Minor and dotted 3 note groupings

The first phrase here is a clear example of how Jim Hall uses melodic minor on tonic chords. Something that I get

The line is a simple melodic minor scale sequence, but the first note is the major 6th. The other thing that really makes this line jump out is the rhythm. A quarter note followed by two 16th notes.

The last bar transitions into a G7 with the B note being emphasized and the line goes on to the next part of the form using a Bdim arpeggio.

This sequence is a great way to get into this type of phrasing and you can experiment with adding it to your own playing making some lines with it, It is also the same rhythm Kurt Rosenwinkel uses a lot with triads

An example of a II V I phrase that uses this could be this:

Example 2 – Triplet motif

Jim Hall works through motifs in many places in the solo. The previous example was also using a scale sequence as a motif.
This example uses triplets and quickly develops a 3 note motif across 4 bars.

The motif is quite simple but it is still impressive that he manages to move it around like this over the form. Th triplet rhythm here is almost a 4 note grouping but not really. Probably because the focus on the melody more than the rhythm.

Example 3 – Reharmonizing in the solo

This phrase is using the same rhythm as in example one, and what Jim Hall is playing can be interpreted as two different sounds.

The phrase is shifting the same melodic motif down in half steps. The motif itself can either be whole tone or melodic minor. It is found in both. The pattern is the same throught the phrase. He plays the phrase 3 times for the Eb7, twice for D and three times for Db7 adding a small tag to end it.

The first part spells out an Eb7(#11) sound, the second a D7(#11) and the 3rd a G7alt or Db7(#11).

 
If you want to play better solos you need to be better at coming up with strong and more interesting melodies. I hope you can use some of these techniques to achieve that.

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:

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.