P. 1
10cool_jazz Fusiion Licks

10cool_jazz Fusiion Licks

|Views: 332|Likes:
Published by kimat

More info:

Published by: kimat on Jun 20, 2011
Copyright:Attribution Non-commercial

Availability:

Read on Scribd mobile: iPhone, iPad and Android.
download as PDF or read online from Scribd
See more
See less

06/10/2015

pdf

text

original

[azz

10 COOL JAZZ FUSION LICKS

ONITHE'CD
TRACKS I \I-2!
I ,. Introdcctlon

2 O. Full !.rack
21 , Backing 1ta&'
__ !!::B':...l.~_j

A
.

question ,I hear much

with pIaymg outside and:
.' Any note con work over any chord at any time. Sadly, such information isn't r~aJly l'Ioi.ng to help you ai alii

So, rather !,han break down and analyse each lick on a musical level, I think that YOIl'Ilget 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.

oft-he time . from a lot Music

ADVANCED To!,I"'r all these itlm there's somethjng for

GTRATIN:Ci

Contemporary

HOT NOODU.NGS
The thing I call [eli you is rhar it does sound good if YOIl resolve your

is: "How do .you i"1~ OLI1.sicil'?" Once I'm done with the usual

with ease ""k..,s .,k1II,

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

IIIII 'I
Willilmpro.,,@ you,"

flippant remarks such as "wear a warm \.'Qal '.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 ~(ghton 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

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 (,XCf" llent examples
of tha t in the lesson.

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

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 nOI1diatonic nonsense,

.'Fu.si<m fI~k
.:

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 Iu the stand il.k.. up

k.,owl~dge :1 mp roYi ."ilion

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

m

. I use th term 'pi ce' very loosely of course. He's also one -of the most tasteful improvisers on any msrrument.7 7 !l A :::".._ B G D -r 9 . and often uses his warm tenor voice co sing alOf. .. gliss ~rs-...II M . • .S: 5 and 6 see Robben pLayUl. which works Cas pretty much anything does when you're playing cutsidel) because it resolves back to B minor at exactly tne ligh~ point..-- 'f'" ~ ~ ~~ _!- . I E B A ~ 1'2 11 1 1.. ~ ..-.L---J ___.. Ford is more than capable of jazzing with the best of them..but a d monstratton of sam. f--"" I I I ..TlALLY A BLUES guitarist.IICK 1 ROBBEN FORD Al.. as Ihis Isn't supposed La be a piece of musicp r s .. I I ~ 7-1.. Benson has been a huge success ir.11: . f! .J ~g !: 'it ~ ~ 1 3 . Arpeggios are very common in his playing style.g with his solos.' .gover an imaginary F'7 chord. He migi. 7 ~ 10 8 t I 10 e 8---11 111 ~ 12 " -.. I I .. so I've included a couple of til m in a typical Bensonstyle lick..-.. . 1M 1 ~'1 9""10 7 '1 8 1 7-' 7 - E 1'1 iI II' ~ I -7 7 ~ ~....M < f"~..I '== 7"""8. I I !..-5 7 6""":.... ~ - --::-.t.:n·IOUGH ES E ..~)r J II grss r ' .~. -9----6 --6------5- 7r.----.121-10 E :3 I FEBRUARY 2()03 Gllilar'Ieclmiques 53 . we jazz and pop worlds. 10 h• 1_.:V' 5.... adding up to one mean guitarist.. ~ 1- gii$s ~ I' B Q 8 I . BAR.LICK I GEORGE BENSON ----------------------------------------------- INSPIRED BY JAZZ GUITARISTS Charlie Christiall..". ..l~ o D - ---' 10~ I-H 1~ 9-12 . .... - 1't"L~ ~ I ~ :J.r-h_ _10-7' gllss g~S_ti. jUSL to start the piece off. I 12-1'2:. Wes Monlgornery and saxophonist Charlie Parker.J if a .. outside ideas that you may wish to orrowl ." 7-10-7 --. A E II.nally began his professional career singillg aL the age of eight.

." inipire )'Oilr' playing. Robben Ford -'Handful Of BI~' and 'Mystic Mile'. so itis diftkuh: to recommend any one album to 'StaIldan:ls (and Other Songs)'.UAR.Jazz 10 COOL j'J:lZZfUSION LICKS LICK 3 FRANK GAMBALE _ 1'~IE THUN[lEH FROM DOWN Under is UD next. _'Uve" and 'The Best of Fnnk Gamba~e'.... So. The line shows a mee melodic approach.....-...T9--~~~:~~~~~~1~"I=~~---191"..as well as an excellent guitar teacher. Or Evens' and 1~1'~l OBVIOUSLY. ~---------------------------------------------------------Ifib 1""-- E'r:=====~"-'_~~~f(.~~:=1~..: SOUND ADVICE GETIING A JAZZ TONE I RECORDED THESE EXAMPLES with a Wayne gultar(by W~ Charvel)...on'.or the bridge and middle (Alnico II) configuration. D·I-----------------------------------+----------------.1~Hm::. ----17·----' G1-----------15-14-----------------------1------------------------------------------------11 .hmiqu€S FEBR.....'The ~~[4II~II~iII~ Best of George Benson' or "BeyondThe Blue Horiz..-.'4 _____J 17_~~~'i~- E~===~. ~ BLOWTHE FUSION FURTHER LISTENING ===.'Quid Pro Quo' and 'Exempt'....-r .. we'd simply 53)' )'Ou should try ..4~:::::::::j::::::::================================::==::: 4 • ...And Fire' or 'Friday Night In San Francisco': Pat Metheny ... using either the bridge pickup (aJefJ Seck trembucker).........!1. Best lfJ10\\1l fOI' his work with Chick Corea's Elektric Band and VitaJ Information. Brett Garsed ....md Mike Stem 'Odds..~ ~ 14 BI-15-{17}(11Hl1}-11 15·-(l1H1-H5-(l1 c 'I au su BU 17 15-14 -t7-14-15-1'N5-14 ~5-t7 i4H114-i6-14 ~ ~. 54 Guitar'fu:.~ . Scott Hender$on ..n With Gill")' Willis' and 'VitalTe<:h Tone~'.__ 6..:============::J=n:~~~~.'Bright Site Ufe' and 'Pat Metheny Group'.- 16 .. and I've included one of his trademark sweep licks iJ1 BAR 5.. This was then plugged into a Marshall JMP I....30Y of these.._ ~ 6:4 H' :.(21'114 ~6-14 i816 H.THE LICKS HERE are but a 'tlny taste of each player's style.. His teaching videos are certainly worth looking a~ if you want to pursue this style... Frank Gambale._____. 11-i5 1s - '1 vib iR7J' I...____ 6:4 ___.Y 2003 .'Passion Grace .-14-----18-1tlr---1S-14----tI So 17-· ----l'9· I) ~[t:::::::::::::::!1j7~-:1~6~::1~. witl:'l EQtweaked in the style of each player. I-.. George BeI1$OJ! ..-.. ....'114 ..'Blue Matter' and 'Pick Hits Uve'... ..Allan Hold$1!l!Orth -'The Sixteen Men OfTain' and 'Metal ..._----------------------------------~ AI------------------------~~--~~~~~~~--------~---------------------------------EL_--------------------------------~----------------~--~~~~~~~~~~~~~~ (8"")~.. Frank Gambale is the undisputed h'iIlfi ofthe sweep picldJl£ Dedm~que...Fatigue': John McLalilghlin ..'Tribal i1. . John Scofield .-.

.I E 7 7 " ess 7 ~ 6 . o..l's sound has had an overhaul recently..~ . bill not in the hands of a master.. 1~ b • ... which can sound obvious. I 7____J LICK <4 BRETT GARSED ' ALTHOUGH GARSED HAS WORKED with fellow Aussi« John Farnham (remember 'You're the Voice'} and AOR...-... 8-9-1()--9--B- 10- E 1\ II ~ - ~ t..8. ------ 7 <. 8"". II-_" -- ~. rather than Gambale-sweep style.... fEBIlIUARY 2003 Gwtar'Iktmiques 55 .1. with out-of-phase single coils replacing the standard humbucksr apprcach._1. ('c II!! gll$$ ~ .. " -.' .. 7 e A G E 7 D 3 9 7 . it's his work in the twoman stunt gUi.I TRACKS 19-21 II . His latest solo releases have shown a more bluesy side..~ Loco ..'7- vib ~ --- 7 '8 u e 1-7 7 '1Q 7 5-Br9 7-10-7-8 --'7=l8l==7.I I ... 'Exempt' or their latest bizarre release... .-----. will leave you in no doubt that he's a phenomenal player.. " . .I E B G 9-1:2 5 1:H1r 1E BlJ -14---~2-14--lQ .. -1~ t ~t· 9(= 10-11 10- fL ~~ I - " .tiH team (along wuh TJ Helrnerlch) thaL is of most interest... The first lick utilises 11m 'move up a semitone' approach. duo Nelson (stop snlckertngl). " II· H .. A QlIick listen to 'Quid Pro Quo'. . is just plain insane.-. . slugging it out with (bassist) Gary Willis....Ul also be found on Tribal Tech records... :9 G '[J A E 5'7'""'6 7 ~.. ~ 7 7' c- ...-'7 . -~ . 9----7 • ~ u E .-. Probably the most important note of rtus lick is the Fli at (he beginning of BEAT 3.:.l:H 7 - LICK S SCOTT HENDERSON Henderson is another disciple of Chick Corea's Elekt~'ic Band. Also.. 'Uncle Moe's Space Ranch'.------. resolving the phrase per(ecl~y. Brett would've played the arpeggio in BAIR ! WiU1 a pick and three fingers (like Shawn Lane). g'i55 .=-._J. '12 ~ B--(8) -HI o A S----s---19 = " ..IO~~6 o II 1\ II gliS$ tJ . while his work with Steve Smith and lunatic bassist Victor Wotton on the 'Viml Tech Tones' album..... - •H. and C.. .::j ~ 9. .'• t.. ... Bret..

.so I've tried to reflect chat in the chosen licks below.:::::====-:::.... "..... He's been known 1...CONTINUED 8"'.~=. ~t:========================!:==================~====================:j g/iss :0--.!1 ~ iF 17-Hl-15-14.""' 1 ~-19-!6-~3--1'6-13~13_.:~~12~~::::::::::::t:~..:...Y 2003 ......5---1~2--------~-=-~---------+-----------------Ii I'l GI--------------------------'~3-11---~~---+-7~7-~~--~~~-----~ s ~4----1i2'_'~1-14-13-11-12----------t----7----- ---~~------H ~~::::::::::::::::::::::::::::::::::::::::::::::::::::~1~J:~:::~::!11~4:::::::::::::::~:::j!9ts~::::::~ EL_----------------~ ~ LICK 6 ALAN HOLDSWORTH YOI~KSHIREMAN HOLDSWORTH DOESN'T so much have his own style !IS his own branch of music..=:1~'~::-~...~ ...~.:3----------1 'I BSS BSS D~----------------~-----------------~--------------------------_.hord vocabulary that is totally unique.-. II H t.=TT"'... He possesses arguably the best legato technique 011 the planet and a c...~..._-----H A~--------------~--------------~~---------~----~ E~7------------------~----------------~L---------------~ 56 GuitJr'Thchniquffi FEBRUAR.ie physical fingering patterns thai work well on the neck (especially when played at ridiculous speeds) .. f'........jazz 10 COOL JAZZ FUSION LICKS lUCK 5 SCOTT HENDERSON ..r.==:t=======:."'~1.--..... __ _..0 use the odd 'sonic shape' from time to time . .=.. gllss:rA ~b 8~-------------------------------------------· r"~i' ~ .. BSS Ilt--------_..~~~.=-~-~ 19-·--19r16-13 1""--===12---{12)-11 'O-4}------H E·~--------------------~L_-------------------------~-------------------~ gliss " II H /~-----~~1f~).:-::: -:1~3~-1~2~.-..:: .4-=.-..-....'15~/2:==========~ 51----------10-13-14-10-'13--10-13-14-1 Ol---------t-~ '13-16·-17-.r=..-.::-..-""rr..~ t-:====:Z~1:5=1~5::~14~. ~r" ~ "_.-----------------+1 ..'_/ I !lib ~~::::::::::::::::::~:'i~~~::::::~~~. gJiss B 1---------_..__=.... '9---'19-16-1:J-19-16-13-16-13-"""""""-+--.."". r.:~~~::.. ~ t------------------+----------------H~--115~14-~13--1<:__112:'. gliss - gliss !.."1-----~12-1..1'~ " ~ ...-----+_---14-'17-13-------""~=... 1'1 Looo II ~ ~.. .__13 (3 ~ 4 ~3-18~1il-16-20 =.::!5--r-:'!=~11~!:::..... =......-~"""'-----F-------------! ..

.__-------------------------------------------lO-Jg.ill/l fusion work with UNo] Mahavishnu Orchestra..2~11-9-9-11-9-8 8 10 J ~ 110---10 8-S-S· 9--11~ I"~------------------------------------------------------~----------------------------------------~ ~~------------------------------------------------------~----------------------------------------~ ~. fr . style is.<--11--10 113--1:2--11 0 e lE G A n o 12-1. ~ . Metheny particularly likes to take motifs and ideas and move them around the neck.. O-~-· ~. ami he enjoys freelorm solos Lha~take the listener all a musical journey that's always imriguing.___6-----....J#~# . ~~~ ' I . hisjazz trio (featming drummer extraordinalre Dennis hambers and Joey Defrancesco 011 Hammond).fr_8---7----------~ .J ~6____.~~:-J.___ 6----.l). . ~ df. his lndian-mfhrenced lines with Shakti.l_---------.~================================~~======================t=======~ C. Whether Ws his gl'ol!l1dbl"'eOl}.'- 12 ~:1 12 15.those for Pal Metheny.. jazz bnssist Jaeo Pastorius.r--.-11-H11It-·~8-----·12~.. so I stuck one such example in BAR ..hat's constantly on tile move.y of Miami and Berklee.b~ • - I .. ~' 6 E~------------------------------------------------~----------------------------.. and made his recording debut at just 19 with (avant-garde keyboardist) Paul Bley and I@Sellda.'!--O-9_--..AUGLIN JOHN MGLAUGLINIS ANOTH8R guitarist that defies description. I I V 'I" L.J 1. John Scofield and George lJe.5.TRACKS 19-21 • .. always instantly racognisable.but it really is up to you.l1son would work well with a semi-acoustlc . 0 (l1-------~r------------------·11-9__11-11--_'F---------11-+_"9"_---------11-_'3_------------------------1 I"L~ ~ 3 ~. or his Spanish leanings with A1 DiMeo]!! and Pace De Lucia. . . " UCK 1 OHN HCI.'1i'... most of the time. categorlsatlon and.~. His...-14-13-1 11-12 W 12 FESRUAf1. I ~ !. This lick would be just as appropriate on acoustic -1:lkewis .------~---. .~. r " c::. 'v hr#". 111-~~1~12-~11-g. he's II musical soul . transcriouon.-. II I I K ~J~ ~~'~~.. II. .~-------119.:I ~I . ~~~._______'-1--' 6~ e A I 12-11-12-1 2-11 4-1' G I 12 11-12~13~12'"11 o I" ~ ~-11-~' 2-14-1.-2--··-------------+-------------H lO~HI 9=10 ~10dJ to -" ' 11}-9-·12-!r---+--------tl LICK B PAT METHENY MODERN JAZZ Li::GEND METHENY ta'llght [It the IJniversi..Y 200] GtlJtar'lecJmilUCS 57 . L.

'~ ._' glls:. IF- _"1r'...~1:~b. Dermis Chambers..0 laid hack. Scofield uses a lot of wide lntervallic phrases and n~iJ~chtoinaLlcs.iI t~~~ fL f:....~t j!:q~#tqt ... ..=1:0~~~1""4~=-"'="""~"""1'~:3~~l=3=-=' =lv~~~1-~O~~1~11~~~12~:-=='-1='O::-:~~:~:--~:-=-~1i:=:l=2_~:-=~:1:4~:~:-==l:2_'~:=l~:~1 o G 12.7'r:-. .b.~--. .. Not only does he possess his own S0\11'10. ~ . but his own sense of timing too .l ~ ~.ming Lh!" heaviest funk drurnm r in fusion. . He's played wj!:h some 01 the greats . '15 12 14-1213 -11 . gIIs.. F ~'r ~~ • 12:-11 10 1:2. Charles Mingus" Gal)' Burton etc . 4--113--12"'11-~ 15--14 2~~4 12 ~-. . 1- I~ I~ " II ~ # #--- c::-. • b. I .2 II 15 Hi -11.".0 . .. 'tI.. 6. ~r~1'~lF~!~ . l've successfully demonstrated that in the lines provided.1.Davis.ltler' period... 1~1~~~fL~~~~~~b.!l'llIe:. -~2 10-11-1 13 IJ A E a '7 'r-'l 9-'112-"13 1\1 -- I I 3 8~----------------------. 12 13 114 10~1'1~112-11-1 ' -~ "2~10- 12- 1\ II H _"'i'.b~~tH~ .T. I .. to great cHeN. 9rS$ . <=- v E B ~ 7 10"--10-7 9 ~ ..S ~. b ---.l'~""I!. . and hopefully. 15 14 -17---~16~15r'4 11:7-16 ~~ lUCK 9 OHN SCOFIELD ANOTHER UNIQUE: VO~CE IN the jaza guitar wOI'ldl IS that ofJohn Scofield.h.0-12 11 13 ~41412-11---1:1-1:2---14-13---15<-1'5- ..he is _. CONT~NUED "~a t.""". feat.fL ~~b... . 'b:C= HI ~ 1. ..13 -L Ar------------------------------+--------------~--~ EL_ ~ -- ~ . I _~~. . t! E B ~4 I*I.but my Iavourita work or his would have La be his 'Bill" M. R.. G o 11-12 . ~ ~I-E~~~~~~~~=l=3 :=i~~~:1:1.Jazz 10 COOL JAZZ FUSION UCKS LICK 8 PATMETHENY.. I . :. 1'\ II II h...

Stem studied at Berklee (as a student of Pa. ~_ U gliss gllss glls8' I .w k r .. a.". OIW thing that I've found with dissonance though. there's a distinct lack of rules to most of these licks.".TRACKS 19-21· II LICK 10 MIKE STERN OUIl: PINAL ENTRY . ~L_ _J . Again we have sorue more chromatic ideas ami a trademark lick l. so take them nice and slow.a veritable feast of fusion frivoLity! As I said earlier. really need to play through them slowly at first. there are some pretty tricky fingerings In there especially if )Iou.. is ~.... St.. (80-------------------------------------------------------------.~~ r---------~~~~11~-11~1-1Hl-12~1IQ_l!1r_14-12~TIO"9_------_+-----12--{14. the more 'normal' it sounds.----. want to get them up to the track speed --'1~~~41c-· ------H Qf 1<41bpm.."PLAYTHE EXAMPlES THROUGH very slowly" but in this Instance.o.9~~---1-2---1-O::g~~---~_2_-_10_·_1_:2_-_W_-=~=l.J Take it easy R~----------------------------------------------------------vib •.. you really.hemore YOI] listen to lt.::::~-1-2--~-9--. __'-·~1-i(}--12-#o"-~ ·_1_2_'-93 G~-----------10----10-~--------t_-'O-------~------9---_r--------fl D~~~~~-~~~~~~~--------r-~-----------------~-------__H A~--------------------------~~-----------------~--------__H ~IL--------------------~L------------------L-------~ @PROTIP I ALWAYS SAY. So there you have iI ...hCltcontains some interesting arpeggio shapes.. :~ - - LD - - BU ~ ~=======~j~-11.comes .Pps Ahead and Michael Brecker.H~4 Br----------------r-----------------12-11--9~10-~~~~~~------~ g~::::::::::::::::::::::::~::::::::::::::::::::::::::::::::::::~~~2~-~~"~1=Ar---------------r--------------------~r_-----------_1 E E~ _L ~. find lind out which ones work for you best And if some (or all) SOIUlcl a bit bizarre to )'OU then don't worry . FEllRUAF:'i 10(1) Guital''Iecru~ques 59' .and I'm sony if your favourite wasn't in our list . Mother Miles Davis reprobate.§!L. courtesy O! Mike S(Pril.)-------1-2---1-O:.llvlellll'ny) and has also worked with Billy Cobham..you're nOI alone.

You're Reading a Free Preview

Download
scribd
/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->