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Discussion in 'Playing and Technique' started by NitroLiq, Jun 5, 2018.
I transcribed a couple of longer JH lines and posted them a few months ago. The first is from "Within You, Without You" and the second is from "Miss Poopie". Both of these are pretty challenging to play at his tempo! Here's a repost of the link for those interested:
I've come across this one before. It's a good analysis and accessible but part of me feels it could almost be anyone...it nods more towards something Garcia might play than showcases Herring's personality within the band's context. Since they had no vocals, it was very similar when he played the melodies of the tunes like Crazy Fingers, Help is on the Way, etc. Probably why it doesn't grab me like some of his other playing. Seems during this period, Jimmy milked picking the melodies over the neck pick up, really catching the strings between the pick and fingers (almost to pinch harmonic point but not quite). There are a lot of live recordings that are worth delving into if you like the JID stuff. I've transcribed some lines from their version of Red Baron from when Cobham was in the band (from some bootleg). Anyway, here are some cool references if you're looking to cover the solo to Crazy Fingers, and Slipknot from the Blues for Allah medley...the guy nails Herring at tempo on Slipknot...crazy intervallics at the end! Definitely on my transcribe shortlist:
Crazy Fingers solo:
Nice, thanks! Did you transcribe these from the studio records? Live videos? I've started mucking about with transcribing Within You, Without You sans twang bar (sliding into bends to replicate) as well as some of the longer solo lines. I just find that while I can transcribe the notes and play the phrases in chunks, I just don't have the dexterity to "keep it going" as he does or at his pace. I've noticed especially that his real "out" sounding intervallic stuff that hops all over the place doesn't sound hip at all unless you can get it to those blazing tempos. It's like an auditory illusion. I kind of have to choose and pick based on my own capabilities. The Project Z stuff would be challenging to transcribe, like Augusta's Ankle or Rainbow. There's a really good live video of the Jimmy Herring band at Nedfest with a SB audio patch. That opens with the Harrison Tune then does Rainbow just after the 10:00 mark. Great clear up close footage of Jimmy the whole time and stellar audio.
Great, well thought out and practical rig.
I like how he uses an all tube amp for his base tone and then sends it into a Digital Reverb ( controlled by a 2nd volume pedal) that goes into a 2 channel solid state power amp pushing a stereo 4 x 12 cab.
I pulled those lines from the studio recording. I used Transcribe software to loop smaller sections at half speed. I can't pull off his longer lines at speed either, but I used this as an exercise to learn some of his "tricks" and add them to my own playing. agree that the outside stuff needs to be played fast or it just sounds weird. That Nedfest video is awesome!
I went to AIM back in the earliest '90s (when the place was in a former funeral home on P'tree Industrial).
Jimmy and Bill were both there, as was Shane Theriot, Sid Wolff and Steve Freeman. All killer players.
You will never meet a sweeter fellow than Jimmy Herring.
I imagine if I could play that well, I'd be a real dick!
(Oh, wait, I can't and I am. Never mind.)
Thanks for the vids and transcriptions.
i like how he plays a japan made tele and an american standard strat. just really simple tools that anyone can acquire. and he has some of the best tone ever from these instruments. its just goes to show.
Being pedantic but you also have to factor in the lollar pickups, fretwork and other things he has had done by Bill DeLap, Warmoth or his Tech, Joel, and it raises it up a bit. There are a couple old threads around about building a JH partscaster...at the least, a strat like the old big apple strat that's routed for single or humbuckers, a pair of Seymour Duncan '59s, which is he what he used in his sunburst strat (the one Bill DeLap did the neck work on), before later switching to Lollar Imperials (pricey), wired up to have one tone control and two volume, big frets and flat radius so it's almost a scalloped feel. But you're right...he sounds great no matter what he's playing on.
Anyway, back to the transcribing. Here's another short lick from the solo in Matt's Funk. You should recognize it when you play it...it happens around 2:47. Swing feel!
And the fun fill lick around 1:08
I usually do a half-step slide from 11 to 12 with my first finger to start the lick.
A nice related find on TGP today: Jimmy Herring Lines - can you say blazing BEBOP!. Dave Henderson (aka @kirk95) shares some nice Herring solo lines from Frogwings' Kickin' Bach and you can download the tabs from: https://gumroad.com/davidhenderson. Also has some other similar stuff like Oz Noy, Scott Henderson, Mike Stern, etc.
Wow, some good stuff there. Thanks for sharing.
Jimmy is really an incredible player. He really got be back into playing after a hiatus. The slide licks are a bit of a new revelation for me. The first time I heard them, I was sure Derek was just playing with his buddy.... then I heard the following notes and was a little confused. After seeing him talk about playing slide licks and demonstrating, the pieces fit. Just an incredible player who is probably under appreciated...... Actually, I think good musicianship is probably under appreciated in general.
Here's some great Jimmy Herring instructional links. Lots of good stuff. I rip off his 4 note semi tone up and back pentatonic sequence all the time for an easy outside sound.
GW Jam session
Herring Lines YT mix
Faux Slide Licks
Thanks for that. I finally got around to playing it. Definitely putting that in my bag of tricks. So he’s basically playing F Mixo and adding tension with the b5?
Here’s a Herring lick I play that I can’t remember where I stole it. Maybe someone else recognizes it.
Great collection of stuff on Jimmy here guys, wonderful job. JH is one of my absolute fave players in many ways too. I just wanted to also add something on a previous comment about his outside stuff only working/sounding good at fast tempos. I think you're slightly missing the boat on that and doesn't do justice to how fine a player JH really is. The outside stuff works not because of the tempo, but because of the chord which he may be targeting or resolving to, the phrasing, and also the rhythmic aspect of how it's placed within the measure and on what beats the outside notes are appearing on (stressed vs unstressed) - all these elements being a big part of bebop jazz vocabulary that Jimmy often utilizes in his playing. Brilliant stuff and shows you how at all times he really knows what he's doing and where he's heading