You are on page 1of 8
Jazz 10 COOL JAZZ FUSION LICKS ONTHE CD TRACKS 19-21 6 “a Find th Wi impr 52 Guitar Techniques reeRuany 2003, INSPIRED BY JAZ GUITARISTS Charle Christan, Wes Montgomery and axophonist Charlie Parker, Berson has been a huge success inthe jazz and pop world y began his p al career singing at the age of eth, and {ten uses his wari tenor voice to sing along wath his soles. Arpegaios are ver ommmen in bis playing style, so ve included a couple of them ita typical Bensor style liek, just to start the piece Tuse the term ‘piece’ very loosely of course, as this int supposed to be a piece of rmusle per e, but a demonstrat ne outside ideas that you may wish to borrow ALTHOUGH ESSENTIALLY A BLUES guitarist, Pord is more than capable of jazaing with the b of them. Hes also one of the most tasteful improvisers on any ding up to one mean guilatist. BARS § and 6 see Robben plaving over an imaginaty B7 chord, which works (as pretty much anything does when you're at exactly the right point playing outside!) because it resolves back to Bs minc 12-{i2) esruany 2002 Guar Techies $3, Jazz 0 COOL JAZZ FUSION LICKS THE THUNDER FROM DOWN Under is up next. Best known for his work with Chick Corea's Blektric Band and Vial information, Frank Gambale isthe undisputed ki ofthe sweep picking technique, as well as an excellent guitar teacher His teaching videos are certainly Worth looking at if you want to pursue this style. The line st nice melodic approach, and Ive included one of his tacemark sweep licks in BAAR 5 ve. eu Bu 44 4 1e-Ci7NtPHeHT-T—SAITHT Bu 14 1517}——1597 pe GETTING A JAZZ TONE Rill | RECORDED THESE EXAMPLES with a Wayne gutar(by ‘Wane Charvl) using ether the bridge pickup (a eff Beck erembucke),or the bridge ard middle (Alco t) ‘configuration This was then plugged inco a Marshall MPI, ‘wth EQrweaked in the syle ofeach ply. @ BLOWTHE FUSION FURTHER LISTENING ‘OBVIOUSLY, THE LICKS HERE are buta ty taste of each player’ style so it's dificult to recommend any one album to Inspire your playing So, we'd simply say you should try any of these: George Benson ="The Best of George Benson’ or ‘BeyondThe Bue Horizon, Robben For Hand Of Blues’ and Mystic Mile Frank Gambale ~‘Live’ and ‘The Best of Frank Gambale'; Brett Garsod — ‘Quid Pro Quo’ and'Exempe Scott Henderson ~"Tibal Tach With Gary ‘Wil’ andVial Tach Tones'Allan Holdsworth ~The ‘Shxteen Men OF Tai’ and Metal Fatigue'sJohn McLaughlin "Passion Grace And Fie’ or ‘Friday Night In San Francisco’ Pat Metheny ~ ‘Bright Size Lif’ and’Pat ‘Metheny Group':john Scofielé ~'Blue Matter’ andPlek Hits Live and Mike Stern ‘Odés Or Evens’ and ‘Sandards (and Other Song)’ 54 Guitar Techriques FEBRUARY 2002 @ TRACKS 19.2! ae listen t Rane had an overhaul recent ‘Quid Pre Quo humbucker approach... Als piek and three fingers (like ALTHOUGH GARSED HAS WORKED with fe Voice’) and AOR ‘Exempt’ or their La will eave you in no di wy Aussie John Parham (remember ‘duo Nelson (stop snickering!), i rg with T} Helmerich) that is of work i the two st. A.quick Vnele Boe Spac ssarre relents bt that heS a phenomenal player. Brett's sound has with out-ofpphase single colls replacing the standard >, Brett Shavin Lar cagio in BAR 1 wth a rather than Gambale-sweep style oe E 2 ef fe = Dasist Vieror Wotton an th lick utilises the ‘move u then ds of a master. Probably th beginning of BEAT 3, resolving th ‘Vital Tech Tones? anproaeh, which ean s ams is ust plain insane, The fist nd obvious, but not in important note ofthis lick is the F# ay . 10-11 10-710 lerson is another disciple of Chick Corew's Elektre Band, and can also be found Tribal Tech records, shigging tout with (bassist) Gary Willis. His latest solo releages have shown a more bluesy side, while his work with Steve Smith andl hunati Bu 14-406) 1244 2 x £ | 1: i ——— 1 FepRUARy 2003 Guitar Techniques $5 Jazz 10 COOL JAZZ FUSION LICKS Ca =i eA 1“ eS YORKSHIKEMAN HOLDSWORTH DOESN'T so much have branch of music. He possesses arguably the best legato technique on the planet and ‘chord voeabulary that is totally unique. He's been known to-use the odd soni spe! from time to time — je physica! fngering patterns that work well on the neck especially when played at ridiculous speeits) ~ so Ive tried to reflect that in the chosen ks below 10-19-1410: 0191-1 — oe ee FT te ao gO pig ra i016 ta 16-19 ase sss ee a ee ete te a ‘es tee ce a ee 895 sasT49 16-15-16 — 2-15 51a 1512-112) 56 Guilar‘Tachniques FEBRUARY 2003 ® TRACKS 19-2 are am JOHN MCLAUGLIN IS ANOTHER guitarist that defies description, categorisation |, most of the time, transcription. Whether #’s his groundbreaking, fusion work with the Mahavishnu Orchestra, his Indian-influenced lies with Shakti, his jazz trio Hlamgnorid), ot his Spanish leanings with AL DiMeola an Paco De Laven, he's a ‘musical soul thats constantly on Ue move, This ck would be just aé appropriate 0 Metheny, Joli Scofield and George Benson would vork well witha sexui-acoustic ~ but it really is up to you. "¢ acoustic ~ ikewise, those for P teeter. Aaae1214e12-14 Tee aeRO e111 9-9 He 2 50 OH oe 10-07 Pees MODERN JAZ2, EGEND METHENY taught at the University of Miami and Berklee his recording debut at just 19 with (avant-garde keyboardist) Paul and legendary jazz bassist Jaco Pastorius. His style is always instantly recognisable and he enjoy’ freeform solos that take the listener on a musical journey that’ always Intriguing. Metheny particularly likes to take motifs and ideas and move th the neek, so stuck one such example in BAR ar Techniques $7 Jazz 10 COOL JAZZ FUSION LICKS —r Tenia i it ate, 4 1615-14 A716: ANOTHER UNIQUE /OICE IN the Jazz guitar world is that of John Seofield, Not only 1s he possess his own sound, but his own sense of timing too — he iso lad back Scofield uses a lot of wide intervallic phrases and neat chromates to great effect and hopefully, I've successfully demonstrated that in the lines provided. He's played swith some of the greats ~ Miles Davis, Charles Mingus, Gary Burton ete ~ but my favornte work of his would have to be his Blue Matter period, featuring the heaviest funk drummer in Fusion, Dennis Chamb 101910 — oo 12—14— 12-40 '58 Guitar Techniques FEBRUARY 2003 @ TRACKS | 9-2) rm PRISE OUR FINAL ENTRY — and lit s nudied at W191 12-10-10-14-12-109 a at 940 42 12104120 129-129 12-8 206) 2 10 @PROTIP TALWAYS SAY PLAY THE ‘need to playthrough them slowly at frst. as there are some pretty tricky fingerings in there ~ cexpecilly if you want to get ‘them up to the track speed of 141 bpm. FEBRUARY 2003 Gitar Totes $9

You might also like