My best guess (and I wouldn't swear to it) is D-F#-G-C# for the first one (maybe with an A in), and G-D-F#-A, possibly with a B in there, for the second one.
IOW, a couple of variants on an E dorian chord (Em13, Em11).
I'm going partly by the read-out on my Transcribe software, partly from testing the sounds on piano. Transcribe shows a mid-range A in the 2nd chord, but it sounds an octave higher. If I play the chord as G-A-D-F# it doesn't sound quite right; G-D-F#-A does. The B in the middle (below middle C) helps fill it out, and is shown as a peak in spectrum, but could be a harmonic of the E bass. (Likewise a possible B in the first chord).
Theoretically and practically they might sense as triadic Dmaj7 and Gmaj7 voicings (D-F#-A-C# and G-B-D-F#), but there's definitely a G in the first one, which I think is right next to the F#; it's not very audible, but Transcribe says it's there (with no lower G of which it might be a harmonic).
Naturally, neither chord is playable in full on guitar (in the right voicings), but you can get something that sounds close like this:
--9---------------
--10----10--------
--11----11--------
--12----9-------
--------10--------
------------------
thanks Jon..that's very close to what I found. I suppose 2 guitars could get that voicing.
Jason reminds me a lot of Max Middleton from BBB, and Grusin's chord work...tasty players that Beck gets to play with.
thanks Jon..that's very close to what I found. I suppose 2 guitars could get that voicing.
Jason reminds me a lot of Max Middleton from BBB, and Grusin's chord work...tasty players that Beck gets to play with.
Sure. http://en.wikipedia.org/wiki/Jason_Rebello
Nice to see an old self-taught rocker holding his own (and then some) with experienced jazz pros in the top UK jazz club.
Beck plays beautifully on this one in particular, no doubt inspired partly by that luxury comping.