Discussion in 'Playing and Technique' started by Tag, Dec 25, 2017.
Talk about building a solo, listen to Benson here. This is insanity. Merry Christmas everyone!!!
Benson is one hell of a player. He never gets enough recognition for his traditional jazz playing due to his smooth jazz commercial success but he really is one of the best.
I was lucky enough to attend the Jazz Aspen "band edition" several years ago where Rodney Jones, was the guitar session instructor/mentor and he mentioned Benson's incredible punchy style of play where every note just pops and is so articulate- no slur in his technique. He was a neighbour of Benson's at one time and he explained a little bit about his right hand picking techniques. He would play a series of 3 note per string lines and move back and forth across the strings carrying the down stroke from the previous string to the next string so that you don't waste time and energy on the alternate picking up stroke when moving to the next string. You just follow through on the down stroke. Pretty cool. I'm not a pick guy so never got anywhere with it but....
Anyway, thanks for the post. Merry Christmas to you too, TAG.
Wow that was great!
Transcribed Charlie Christian's version of that a couple months back. 1st clarinet solo too. Good stuff.
Somewhere years ago in my former life on here I posted a clip of B.Goodman playing Summertime that was off the charts. Really heavily altered ideas that are not really associated with him that much. It goes to show you that some of these guys dont always show their entire hand all the time. He was a bad ass no doubt.
Clearly george benson did his hw...listen to those charlie christian inspired ideas!
I think Benson missed his cue to wrap up his solo and just kept going; it worked out pretty well though . . .
Got this sound clip on my computer now. I am going to be stealing these lines tomorrow!!
THAT was great. Thank you
Yeah I think BG wanted him to stop but he just kept on at it.
I have been learning lots of lines from this. I am starting to see how George gets his outside notes, and its not from any scales at all. He has his own series of alternate chord changes he superimposes over the existing ones (much like using Coltrane changes) that are all his own. There are several different ones than consist of triads. Pure genius and so musical. Looking at it as chord scale will totally throw you as to where some of the notes are coming from, such as a maj triad built off the maj7th of a dom 7 chord. Its the way his inner ear hears it that guides him through these changes in a totally musical way. I just picked up one that is giving me a boatload of new ways to approach altered 2 5 1s!! Really exciting!!
Hey @Tag, thanks for posting! I just recently rediscovered George in the past year, when I've spent the majority of the 80's, 90's and beyond focused more on the Metheny, Scofield, Stern and the like. Benson is a national treasure, for sure.
I was curious if you could recommend a great reference for comping? I'm always fascinated with how someone like Martino or Benson approaches backing up a soloist and I'm hoping there's something available that provides some background on that. Thanks!
OK....I used some of the lines I lifted from Georges video above, mixed in with my own stuff in this short demo clip. REALLY helping me get into his playing!!!
Wouldn't the Maj7 note really jar against the b7?
Listen above. I use it in the clip. Also, when you are playing with blues feel, which is the basis of real jazz, the flat5 is a big part of the sound of the key you are in. So in C, the flatted 5th is F#. The 5 chord of C is G7. What is that F# note in relation to G7?? The major 7th! Play some blues over a 1 6 2 5 in C. Use that b5 note a lot. Now hang on it over the G7 chord, and resolve it to a C chord tone when the G7 goes to C. Sounds KILLER!! Why? Because your ear hears tension and release. It hears your line wanting to resolve, and the chord wanting to resolve. It does not single out that note against a G7 chord. Its moving. Your ear has heard that F# as being central to the piece. Not only does it fit, it sounds fantastic!
Here is Benson getting on stage with Robben Ford for a fusion tune.