[azz

10 COOL JAZZ FUSION LICKS

ONITHE'CD TRACKS I 9-2!

I ,. Introdcctlon 2 O. Full !.rack

21 , Backing 1ta&'

GTRATIN:Ci

ADVANCED

To!,I"'r all these with ease ""k..,s .,k1II, itlm there's somethjng for

~veryo"" "' ... "'"

IIIII 'I

Willilmpro.,,@ your! .'Fu.si<m fI~k k.,owl~dge

.: :1 mp roYi ."ilion "kills

.: Ability to "re""lvij' ph ...... es

A question ,I hear much

oft-he time

. . from a lot

__ !!::B':...l.~--1 Contemporary Music is: "How do .you i"1~ OLI1.sicil'?"

Once I'm done with the usual flippant remarks such as "wear a warm \.eoal '.IIId a woolly hat", I'm len chinking, "!10W do yo'u explain such thlngs?" With this lesson rm going co attempt to sited some ~(ght on this mOSL murky of subjects. And we're going LO do it learning some choice licks from some of the greatest jazzruston players thal have evel'lived at the same time.

By studying these examples, you will soon realise that:

• There are no rule, associated

with pIaymg outside and:

.' Any note can work over any chord at any time.

Sadly, such information isn't r~aJly l'Ioi.ng to help you ai alii

HOT NOODU.NGS

The thing I call [eli you is rhar it does sound good if YOIl resolve your outside noodlings and musical ideas by landing 011 a strong ehurd tone or idea all the firse beat of the next bar. There are some cxce llent examples of tha t in the lesson.

Also, musical motifs, when they are moved around the neck, have a way of keeping the listener interested. They will be mtrlgucd by The musical journey and, if you resolve it succassfully, will accept that you've just played a load of nOI1- diatonic nonsense,

So, rather !,han break down and analyse each lick on a musical level, I think that you'll get more from this lesson i1 you;

• Find the phrases and lilies that appeal to you

• Try and hear how and why chey work ln a particular context

• And then absorb the ideas into your playing.

Lei's race iL ~ that's exactly how all these guys got SUI rted ...

So, my lesson [hi.~ month was to write a g,eneric fusion backing, and then imagine that ten of the greatest jazz and fusion guitarists were jarnmmg over it. Noth:ing too ambitious, thr:ml

Tn avoid any mums of favouritism, we will be looking at these signature licks in alphabetical Older, so,

1iJ:>L up Iu the stand il.k.. m

LICK I GEORGE BENSON

-----------------------------------------------

INSPIRED BY JAZZ GUITARISTS Charlie Christiall, Wes Monlgornery and saxophonist Charlie Parker, Benson has been a huge success ir, we jazz and pop worlds, He migi.nally began his professional career singillg aL the age of eight, and often uses his warm tenor voice co sing alOf,g with his solos. Arpeggios are very common in his playing style, so I've included a couple of til m in a typical Bensonstyle lick, jUSL to start the piece off.

I use th term 'pi ce' very loosely of course, as I his Isn't supposed La be a piece of musicp r s ,but a d monstratton of sam. outside ideas that you may wish to orrowl

I' B Q

!l A E

1

gliss gii$s grss
,... ~ ,M f"~ ,.r-h. g~S_ti."...., ~rs-. ~ )r II J ,-
I ,
< .. I , I
I ' ,
~ - ~ 1- '==
_10-7'

8 9""10 7 7"""8- -5 6""":;7
:::". ~'1 '1 7
1M 7 8 7-' -7
1 gllss

r

~ B G D A E

3

1'1 iI II' ~ -- ~,- ~ !: ,.-----,. 1't"L~ ~ ~
I
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'it
~ L---J .---J -- -
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7 --6------5- 5,
-9----6 7
1 II.IICK 1 ROBBEN FORD

Al.:n·IOUGH ES E ,TlALLY A BLUES guitarist, Ford is more than capable of jazzing with the best of them. He's also one -of the most tasteful improvisers on any msrrument, adding up to one mean guitarist, BAR.S: 5 and 6 see Robben pLayUl,g over an imaginary F'7 chord, which works (as pretty much anything does when you're playing cutsidel) because it resolves back to B minor at exactly tne ligh~ point.

f! ,II M , f- ~, ,.11: . ~ --::-... I
I
I
I
~ -
--. ~
7-10-7
7-1," 7 10 8
t 10 e
I 8---11 ~
111
12 E B o D A E

:3

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I
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-- . I
I
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~ .-..
- ---' 9-12 I 12-1'2:;121-10
10 11 1 1~
1'2 1;l"""--9 10~ I-H
I FEBRUARY 2()03 Gllilar'Ieclmiques 53

Jazz

10 COOL j'J:lZZfUSION LICKS

LICK 3 FRANK GAMBALE _

.... 7J'

I. :.......-r

• I...-------- 6:4 ~ '------ 6:4 ----' I-......- 6;'4-----l

1'~IE THUN[lEH FROM DOWN Under is UD next. Best lfJ101\1l fOI' his work with Chick Corea's Elektric Band and VitaJ Information, Frank Gambale is the undisputed h'iIlfi ofthe sweep picldJl£ Dedm~que, as well as an excellent guitar teacher, His teaching videos are certainly worth looking a~ if you want to pursue this style. The line shows a mee melodic approach, and I've included one of his trademark sweep licks iJ1 BAR 5.

~----------------------------------------------------------

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1""--

-

--

au su BU

E'r:=====~-----~~~f(;1~Hm::;;'114 ~ 14 .~ BI-15-{17}(11Hl1}-11 15.-(11H1-H5-/11

c

D·I-----------------------------------+----------------~----------------------------------~ AI------------------------~~--~~~~~~~--------~----------------------------------~ EL---------------------------------~----------------~--~~~~~~~~~~~~~~~~~

'I

i4H114-i6-14 ~ ~.

~5-t7 17 15-14 t7-14-15-1'N5-14

16 .. 11-i5 1s

(8"")~ - ~ - - - - - - - -- - -- -- - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - '1

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G 114 ~6-14 i8 16 H;-14-----18-1tlr---1S-14----tI

I) 1-----------15-14-----------------------1------------------------------------------------11

~[t:::::::::::::::!1j7~-:1~6~::1~.4~:::::::::j::::::::================================::==::::::::::::j

4

• .: SOUND ADVICE

GETIING A JAZZ TONE

I RECORDED THESE EXAMPLES with a Wayne gultar(by W~ Charvel), using either the bridge pickup (aJefJ Seck trembucker),or the bridge and middle (Alnico II) configuration. This was then plugged into a Marshall JMP I, witl:'l EQtweaked in the style of each player.

~ BLOWTHE FUSION FURTHER LISTENING

===.." OBVIOUSLY,THE LICKS HERE are but a 'tlny taste of each player's style, so it!s diftkuh: to recommend any one album to

1~1'~l inspire )'Oilr' playing. So. we'd simply 53)' )'Ou should try ,30Y of these; George BeI1$OJ! - 'The ~~[4II~tii~iII~ Best of George Benson' or "BeyondThe Blue Horiz.on'; Robben Ford -'Handful Of BI~' and 'Mystic Mile'; Frank Gambale, -'Uve" and 'The Best of Fnnk Gamba~e'; Brett Garsed - 'Quid Pro Quo' and 'Exempt'; Scott Hender$on - 'Tribal i1;!1;.n With Gill")' Willis' and 'VitalTe<:h Tone~';Allan Hold$1!l!Orth -'The Sixteen Men OfTain' and 'Metal ,Fatigue': John McLalilghlin - 'Passion Grace ,And Fire' or 'Friday Night I n San Francisco': Pat Metheny - 'Bright Site Ufe' and 'Pat Metheny Group'; John Scofield - 'Blue Matter' and 'Pick Hits Uve';;md Mike Stem 'Odds, Or Evens' and 'StaIldan:ls (and Other Songs)'.

54 Guitar'fu:;hmiqu€S FEBR.UAR.Y 2003

II

I

TRACKS 19-21

LICK <4 BRETT GARSED '

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ALTHOUGH GARSED HAS WORKED with fellow Aussi« John Farnham (remember 'You're the Voice'} and AOR. duo Nelson (stop snlckertngl), it's his work in the twoman stunt gUi,tiH team (along wuh TJ Helrnerlch) thaL is of most interest, A QlIick listen to 'Quid Pro Quo', 'Exempt' or their latest bizarre release, 'Uncle Moe's Space Ranch', will leave you in no doubt that he's a phenomenal player, BreLl's sound has had an overhaul recently, with out-of-phase single coils replacing the standard humbucksr apprcach.; Also, Brett would've played the arpeggio in BAIR ! WiU1 a pick and three fingers (like Shawn Lane), rather than Gambale-sweep style,

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A E

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u .. --J.. .. - ~ ..
9----7

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e 10-11 10- 1-7 '1Q 7 - -
7 '8 7 - '7=l8l==7- l:H
u 7 .8,'7-
7-10-7-8 -
5-Br9 LICK S SCOTT HENDERSON

g'iss

Henderson is another disciple of Chick Corea's Elekt~'ic Band, and C,Ul also be found on Tribal Tech records, slugging it out with (bassist) Gary Willis, His latest solo releases have shown a more bluesy side, while his work with Steve Smith and lunatic bassist Victor Wotton on the 'Viml Tech Tones' album, is just plain insane. The first lick utilises 11m 'move up a semitone' approach, which can sound obvious, bill not in the hands of a master, Probably the most important note of rtus lick is the Fli at (he beginning of BEAT 3, resolving the phrase per(ecl~y,

E B G o A E

" II, H .-.~ ~ 1~ b • ...=-;._1. - • H. , .. 1;' •
. . "
t.I ".;:::j -
BlJ 1E .
1:H1r -14---~2-14--lQ 5 ~
'12 9-1:2 B--(8) = " .:. 8-9-1()--9--B-
-HI S----s---19 10-
8""- - - - - - - - - - - - - - - - - - - - ,- - - - - - - -, Loco

9 .

E e G D A E

3

1\ II ~ ~ ..-----... ,
-
I
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,-
t.I ~ ,
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SSS .------..
7
7 7 7 7
9 7 " 7 7' 7 <, "
. ~ 6 c- ----- -, fEBIlIUARY 2003 Gwtar'Iktmiques S5

jazz

10 COOL JAZZ FUSION LICKS

lUCK 5 SCOTT HENDERSON .. , CONTINUED

8"'- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -, Looo

1'1 II ~ ~. .--....., gliss -

gliss

!;"1-----~12-1,5---1~2--------~-=-~---------+-----------------Ii

I'l ~4----1i2"-:~1-14-13-11-12----------t----7----- ---~~------H

GI--------------------------'~3-11--~~---+-7~7-~~--~~~-----~

~~::::::::::::::::::::::::::::::::::::::::::::::::::::~1~J:~:::~::!11~4:::::::::::::::~:::j!9ts~::::::~

EL------------------ ~ ~

s

LICK 6 ALAN HOLDSWORTH

Il t__------~=TT"',--=.-.,.,-""rr,,~=,-----+_---14-'17-13-------""~=..,4-=..---------------+1

.~ t-:====:z~1:5=1~5::~14~. -:1~3~-1~2~ .... ~1.!1 ==:t=======:;~~~;:;=:1~'~::-~,.::!5--r-:'!=~11~!:::;;;:::::====-:::;::-;;:-:::==-:;:========l1.fl

~ iF 17-Hl-15-14.

~t------------------+----------------H~--115~14-~13-1<:--112:',r., ".<------H

A~--------------~--------------~~---------~----~ E~7------------------~----------------~L---------------~

BSS

YOI~KSHIREMAN HOLDSWORTH DOESN'T so much have his own style !IS his own branch of music. He possesses arguably the best legato technique 011 the planet and a c.hord vocabulary that is totally unique. He's been known 1;0 use the odd 'sonic shape' from time to time - ie physical fingering patterns thai work well on the neck (especially when played at ridiculous speeds) - so I've tried to reflect chat in the chosen licks below,

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BSS BSS

~~::::::::::::::::::~:'i~~~::::::~~~,,~;:~~12~~::::::::::::t:~;:~~~::;'15~/2:==========~

51----------10-13-14-10-'13--10-13-14-1 Ol---------t-~ '13-16·-17-;:3----------1

D~----------------~-----------------~--------------------------~

~t:========================!:==================~====================:j

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gJiss

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B 1---------~"--1J =,,""' 1 ~-19-!6-~3- -1'6-13~13_. =.,r=,..,=,-~"""'-----F-------------!

(3 ~3-18~1il-16-20 '9---'19-16-1:J-19-16-13-16-13-""" ..... -+--,..:: ..... .=- -~-~

~ 19-·--19r16-13 1""--===12---{12)-11 10-4}------H

E·~--------------------~L--------------------------~-------------------~

4

" II H

gliss gllss:rA ~b

/~-----~~1f~ ").1'~ ~

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8~-------------------------------------------·

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...

56 GuitJr'Thchniquffi FEBRUARY 2003

,

TRACKS 19-21

UCK 1 OHN HCI..AUGLIN

JOHN MGLAUGLINIS ANOTH8R guitarist that defies description, categorlsatlon and, most of the time, transcriouon, Whether Ws his gl'ol!l1dbl"'eOlj.;illg fusion work with UNo] Mahavishnu Orchestra, his lndian-mfhrenced lines with Shakti, hisjazz trio (featming drummer extraordinalre Dennis hambers and Joey Defrancesco 011 Hammond), or his Spanish leanings with A1 DiMeo]!! and Pace De Lucia, he's II musical soul .hat's constantly on tile move, This lick would be just as appropriate on acoustic - likewis ,those for Pal Methuny . John Scofield and George lJe.l1son would work well with a semi-acoustlc - but it really is up to you.

'I" e G o A I"

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I ' I "
I " ,
I , I
I
V L--..6-----.J ~6----' L--.. 6----.J r c::;:I ~I ....
~'-1--'
6~
I 12-11-12-1 4-1' 2-11
I 12 11-12~13~12'"11
~ ~-11-~' 2-14-1.2~11-9 8-9-11-9-8 8-S-S· 9--11~
10 J ~ 110---10 -

I"~------------------------------------------------------~----------------------------------------~ ~~------------------------------------------------------~----------------------------------------~

(l1-------~r------------------·11-9__11-11--_'F---------ll-+_"9"_---------11-....g_------------------------1

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3

~.~================================~~======================t=======~

C;;~-------119. . 111-~~1~12-~11-g.-.-11-Hlllt-·~8-----·12~.'!--O-9_--,-2--··-------------+-------------H

~' lO~HI 9=10 ~10dJ to -" '

E~------------------------------------------------~----------------------------,fr_8---7----------~

6

11}-9-·12-!r---+--------tl

LICK B PAT METHENY

!; e G n A lE

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,
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12 ~:1 12 W 12
12-1,'- 15- -14-13-1 ;<--11--10 0 11-12
113--1:2--11 MODERN JAZZ Li::GEND METHENY ta'llght [It the IJniversi.y of Miami and Berklee, and made his recording debut at just 19 with (avant-garde keyboardist) Paul Bley and I@Sellda.l), jazz bnssist Jaeo Pastorius. His, style is. always instantly racognisable, ami he enjoys freelorm solos Lha~ take the listener all a musical journey that's always imriguing. Metheny particularly likes to take motifs and ideas and move them around the neck, so I stuck one such example in BAR .5.

FESRUAf1.Y 200] GtlJtar'lecJmilUCS 57

Jazz

10 COOL JAZZ FUSION UCKS

LICK 8 PAT METHENY. CONT~NUED

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~ ~, • b.7'r:-. '~ .,...
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10~1'1~112-11-1 '
12 '15 12 12:-11 10 12 13 114 "2~10-
4--113--12"'11-~ 2~~4 14-12- -11 1:2, 12-
15--14 13 E B G o II ~

~

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,0-12 11 ,2 13 ~414- -11; 15 14
11-12 12-11---1:1-1:2---14-13---15<-1'5- -17---~16~15r'4
~4 15 Hi 11:7-16 lUCK 9 OHN SCOFIELD

--

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Ar------------------------------+--------------~--~

EL- -L ~

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ANOTHER UNIQUE: VO~CE IN the jaza guitar wOI'ldl IS that ofJohn Scofield, Not only does he possess his own S0\11'10, but his own sense of timing too - he is _,0 laid hack. Scofield uses a lot of wide lntervallic phrases and n~iJ~ chtoinaLlcs, to great cHeN,

and hopefully, l've successfully demonstrated that in the lines provided, He's played wj!:h some 01 the greats - /l'llIe:;; Davis, Charles Mingus,. Gal)' Burton etc - but my Iavourita work or his would have La be his 'Bill" M;ltler' period, feat.ming Lh!"

heaviest funk drurnm r in fusion, Dermis Chambers.

I~

1'\ II II

h. ,.T,.~t j!:q~#tqt .. R,.b~~tH~ .. b .... ---.. h .. _~~ ... 6.

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10-11-1
9 a '7 'r-'l 1\1 HI ~
1.0 ~2 8~----------------------,

~

TRACKS 19-21· II

LICK 10 MIKE STERN .

R~----------------------------------------------------------

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• .",. ~ _ U gllss - glls8' k

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OUIl: PINAL ENTRY - and I'm sony if your favourite wasn't in our list - comes courtesy O! Mike S(Pril. Mother Miles Davis reprobate, Stem studied at Berklee (as a student of Pa.llvlellll'ny) and has also worked with Billy Cobham, St.Pps Ahead and Michael Brecker.", Again we have sorue more chromatic ideas ami a trademark lick l;hClt contains some interesting arpeggio shapes.

So there you have iI - a veritable feast of fusion frivoLity! As I said earlier, there's a distinct lack of rules to most of these licks, so take them nice and slow, find lind out which ones work for you best And if some (or all) SOIUlcl a bit bizarre to )'OU then don't worry - you're nor alone. OIW thing that I've found with dissonance though, is ~.he more YOI] listen to lt, the more 'normal' it sounds.J Take it easy

.....

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g~::::::::::::::::::::::::~::::::::::::::::::::::::::::::::::::~~~2~-~~"~1=-;~;'!1)~~~~~=-=-=-=-=-=-=-~~

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(80-------------------------------------------------------------,

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LD BU

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D~~~~~-~~~~~~~--------r-~-----------------~-------__H

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-

-

@PROTIP

I ALWAYS SAY,"PLAYTHE EXAMPlES THROUGH very slowly" but in this Instance, you really. really need to play through them slowly at first. a.o; there

are some pretty tricky fingerings In there - especially if )Iou, want to get them up to the track speed Qf 1<41 bpm.

FEllRUAF:'i 10(1) Guital''Iecru~ques 59'

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