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THE BEST ROCKABILLY PLAYERS

know how to spin jazzy lines over sim-


ple blues progressions. Lets see how
this works.
Start by recording Guitar 2, a bass-
string rockabilly riff designed to drive
a 12-bar blues progression in G. For
now, choose a moderate tempo. Play
through Guitar 2 at least four or five
times so you have a long backing track.
Next, start working out Guitar 1, a
S E S S I O N S

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Gtr. 2

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Dm7 G7


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C7 C dim7 Gmaj7 Am7

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C G
Rockabilly Jazz
B Y J I M C A M P I L O N G O
12-bar solo that you can play over the back-
ing riff. As well soon see, this single-note
line implies a number of chords other than
the original I-IV-V changes. Begin slowly,
digesting one or two bars at a time. Finally,
hook all the phrases together and play the
passage as a single, flowing idea. Some ob-
servations:
The arpeggios in bar 4 suggest a super-
imposed IIm-V (Am7-D7) cadence.
The first three beats in bar 6 outline
a C#dim7 arpeggio.
The arpeggios in bars 7 and 8 outline
a Imaj7-IIm7-IIIm7-bIIIm7-IIm7 move
(Gmaj7-Am7-Bm7-Bbm7-Am7).
In bar 10, an Ebm9 arpeggio sets up
tension against D7.
The lines in bars 11 and 12 sketch a
IIIm7-VI7-IIm7-V7 (Bm7-E7-Am7-D7) pro-
gression over the tonic G harmony.
Go easy. This solo shows how, even
when the band is chugging out a low IQ
progression, you can imply more sophis-
ticated changes with your single-note lines.
However, this example is a bit heavy hand-
ed. Superimposed harmonic colors sound
most effective when you use them sparingly.
When you wedge such jazzy ideas between
double-stops and pentatonic phrases, your
nasty will sound nastier and your sweet
will sound sweeter. g
In the haunting and mysterious Table
for One, Jim Campilongo explores the Teles
darker side. The CD is available at most
Tower Records stores, from Cdnow.com,
or from World Records (1-800-742-6663).
You can e-mail Campil ongo at j c@
bluehenrecords. com.
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