Excellent lesson! You put a lot of work in producing your videos and I want you to know I (we) truly appreciate it. Your communication is outstanding. You explain everything very calmly, never rushing through a lesson. You make your lessons easy to follow and understand. Thank you Jens!
That's me. Fifty years of experience. I can play any type of 145 including swing, nashville, delta blues you name it. It's there. But I've listened to Charlie Parker et al for 50 years too. You've done it again Jens.
Wow. Jens you must be the hardest working teach on the web. Fantastic lesson. I love the blues, have since I was a kid. 57 now. The flavour of adding jazz colour works for my ears. YOU have helped me accomplish that. My goal is to say something tasty develop it and exit . My days of wanking away are diminishing. Love your channel. I have a year of music college in my past. So the concepts aren’t new. The triad blues lesson was amazing. On my way to Patreon. Thanks again.
@Jens Larsen. This video provides SO MANY useful concepts. It is great for those blues folks that want to move into jazz playing. It provides some great motif concepts that can be used over almost any tune. It reinforces the ideas of call and response which is one of the core ideas in jazz soloing. It emphasizes the need to grasp the necessity of "melody". It opens up the idea of using a players ideas in more than part of a tune. You provide some simple but powerful techniques of phrasing which can apply to any tune. You also introduce double stops in soloing which is a refreshing technique that can be applied anywhere. Your lesson reminds me of ideas I may have forgotten over the years. This is quite possibly your best single video for the reasons I mention. Thanks for refreshing me!
7 months ago one of your readers comments was questioning the fourth bar F7 altered cord, the B7#11, and you mentioned the fact that it was a tritone and therefore a lydian dominant. Years ago while in music school I got interested in the lydian dominant through Ted Green's teachings in his book jazz guitar single note soloing volume 1. He called it the overtone dominant scale, acquiring its name from nature's overtone series, something he said he spent some time studying discovering the "what" of the scale but unable to discover the "why". He said these were a magical group of sounds and identified the "what" to be a dominant seventh scale (mixolydian) with a sharp four, which are derived from the overtone series of notes. As it turns out it is a melodic minor scale a fifth above the root. Emily Remiler described this scale as having the natural color tones; 9th, Sharp 11, and 13th, these being the sweet sounding tones She said they were her number 1 dominant scale and described them as being very West Montgomery sounding and ones that do not resolve to the root cord. She said her number two dominant scales were the melodic minor a half step above the root of a dominant 7th chord and ones that did resolve to the root cord. Good examples of tunes that do not resolve to the root would be ones like Sweet Georgia Bright by Charles Lloyd or Killer Joe by Benny Golson. So, in the context of this blues the B7 sharp 11 is not resolving to the one chord, such as a major or minor root cord but rather resolving to the dominant four cord, as Emily Remiler would note. Hope you find this interesting - old folklore from years past.. LOL
Thanks Bill! Ted Greene is not the only one who calls it the overtone scale. I also think that you have the interpretation of Emily Remler a bit wrong, it is resolving to A one chord not THE one chord, so B7 would never resolve to F7, but for example the D7 later in the progression resolves to Gm which is not the root of the progression but it does resolve, and the lydian dominant sound would not sound very natural there.
Another amazing post. Jens is like the magician that takes you back-stage to reveal the tricks of his magic. And you go "oooh, that's how he does it!" Thank you Jens!
I found your channel just over a week ago. I’m HOOKED! I love the way you explain all the material and how it applies. I’m in intermediate guitarist and I’ve recently fell in love with jazz. There’s a billon “how to “ guitar channels out there but yours is hands down the best! I come from a punk background but i know theory. I find your videos challenging but not out of reach. I’m really inspired. Thank you for all the great content. Now I’m learning jazz and making music!
I really dug the section on double stops, that's one of my favorite things about Chuck Berry. You hear it a lot in soul music too, Steve Cropper does a lot of really nice 6ths, sometimes you can distill a nice 6th out of a triad chord (I think you did a couple of times that in that section of the video). I'm sure I'll re-visit this video with guitar in hand. Nice one Jens! 👏
Am I the only one hearing a huge similarity between that Charlie Parker bit, and the guitar part from Folsom Prison Blues? Never thought about that before.
On dominant chords try playing the dorian or minor pentatonic that it is up a 5th of the root. So if you are on F7 you play Cm. this minor you can think it as being the IIm of a IIm V7 I, like in Cm - F7 - Bb. You can always add a IIm before a V even if it is not there, an you can always play only IIm
Great video Jens. I love the jazz blues sound. There are many great guitarists like Wes and George Benson to listen to and learn from in playing the blues, but Kenny Burrell tops my list. Correct me if I'm wrong, but I don't know any other jazz guitarist who has a bigger and more impressive recording resume than Kenny. His Wikipedia page is amazing and his jazz blues playing is iconic.
I am trying to break into this but it is difficult to understand the jazz backing track in relation to the blues sounds more like jazz than blues could you do a video that has a blues backing track with your jazz ideas over it thanks
I am not really trying to teach people how to play jazz licks on a "normal" 12-bar blues, so I don't think that is something I will do. But there are 1000s of lessons on that on YT already, so I am sure you can find something.
At 1:45, where you're discussing the F7alt on bar 4, there's a chord which you've labelled "or B7#11". I see B (root), A(7), D#(3) and G# which is the 6th; what am I missing when I say that I can't make that a sharp 11?
The link to the Herbie Hancock masterclass is in the description of this video ua-cam.com/video/2pBV5cNEYk4/v-deo.html by Jens entitled "Herbie Hancocks Guitar Inspired Blues Phrasing".
? Joe Perry.......oh yeah.....the tritone double stop horn jab fill between the vocal line in the chorus "walk this way, JAB JAB, walk this way" ... ah, i see now
It is funny that you show a short SRV solo before your video because i guess he would have played most of a solo in F7 with the pentatonic scale at the first fret ,at the 13 th too ......I know he was capable of much more ,for example i don't know where he finds some parts of "rude mood " licks ,well to be honest i can' t make a difference between a major pentatonic scale and a minor one ,i think i kind of mixing them both because i play the minor scales only but year after year i find some new notes ,and i don't have the feeling that i'm reapeating the same licks again and again ,except maybe too many double stops with the b and e string on the same frets ..... I find your technique impressive , really , but was there any blues in that video honestly ?? Jazz comes from the blues ok ,but it's like playing whith his brain and blues is like playing with the heart ,and it's less complicated ..... Well i know some new chords now so thank you , and i see an ocean between jazz and blues ,it is like two different planets , it's like a crying guitar and a singing one ..... I admire jazz players but like Jimi Hendrix i don't understand that music ,i 'll try to listen to George Benson soon ,of course lol Jimi could play some Jazz , not me .....It seems like a jazzman can play any type of music , but if he sticks to it he won't really play the blues with his heart ,by letting his fingers do the job and forgetting everything .....
Are you always capable of relating to all music and judge whether it has heart or not? Or maybe you just can't feel music like Jazz and that is why you think it has no heart?
@@JensLarsen Well i wasn't too awake when i wrote that comment ,and i can't judge music like that .....Especially if i do like gypsy jazz or Louis Armstrong or Amy Whinehouse for example ...... What i'm surprised to discover today is that maybe Jazz has its roots in blues but modern blues has its roots in jazz too , we play blues solos because of T Bone Walker ,he was the first to do so ,if i'm not mistaken ...The jazzmen were already doing that ....If you listen to "evenin" you can't say if it's blues or jazz ,it's them both ,and his music was a bridge between the two genres ....Robert Johnson is the father of modern blues and rock ' n roll but there wasn't any solos in blues in his time ..... A dream jazz/blues band would have been with Charlie Christian and T Bone walker ,with Christian playing the solos ....I find his style very close to Django Reinhards 's one, and saying he doesn't play with his heart is insulting .....Oh i've seen one or two photos showing Charlie Christian using his thumb like Jimi Hendrix on the major chords ,well i think both of us know the embellishments Jimi could do by adding his thumb as a "playing finger" ,it is amazing on "bold as love" or "little wing " ...Well i thought i didn't like Charlie Parker 's style at all and i've just listened to two songs and i maybe going to change my mind ....I'm frustrated with John Maclaughlin ,i don't understand his style ,i prefer John Scofield ,i like George Benson "give me the night " it's more disco than jazz ,but i admit i wouldn't go to one of his concerts : i would sleep i guess ..... Well if you don't know the song "somewhere" by Jimi Hendrix try it maybe you going to really love it it's one of my favorites ...Thank you i have discovered Charlie Christian i really enjoy his playing style .... Sorry for my comment , maybe i'm going to listen to some more jazz ,i'd like to be a better musician ,if i can't stick with nothing but blues and a little bit of reggae on bass , well music isn't everything for me ,not a real passion anymore , i would be better if i had played more during 18 years now ,breakdown ..... Sorry i let you almost a book to read , take care ....
@@JensLarsen Now I actually watched the video, I realise I actually CAN play some of that! - I'm always using slides too - but your videos are so helpful!
The West coast blues melody is a good example of sliding double stops too
Very true :)
Your content production rate is insane Jens.
Thank you
I do my best, But I might have to take it down a bit at some point :)
Quantity and quality. Great stuff.
@@JensLarsen Are you okay?
@@earfulaudio5199 yes, I am fine. But thanks for asking 🙂
Excellent lesson! You put a lot of work in producing your videos and I want you to know I (we) truly appreciate it. Your communication is outstanding. You explain everything very calmly, never rushing through a lesson. You make your lessons easy to follow and understand. Thank you Jens!
man i was watching an old video and now this one you've really improved everything in your videos over the years, thats awesome
Thanks 🙂
That's me. Fifty years of experience. I can play any type of 145 including swing, nashville, delta blues you name it. It's there. But I've listened to Charlie Parker et al for 50 years too. You've done it again Jens.
Blues always helps! Even when you're not sure where you are, so blues, brings me back to where I am going!
Wow. Jens you must be the hardest working teach on the web. Fantastic lesson. I love the blues, have since I was a kid. 57 now. The flavour of adding jazz colour works for my ears. YOU have helped me accomplish that. My goal is to say something tasty develop it and exit . My days of wanking away are diminishing. Love your channel. I have a year of music college in my past. So the concepts aren’t new. The triad blues lesson was amazing. On my way to Patreon. Thanks again.
Thank you very much Andrew!
@Jens Larsen. This video provides SO MANY useful concepts. It is great for those blues folks that want to move into jazz playing. It provides some great motif concepts that can be used over almost any tune. It reinforces the ideas of call and response which is one of the core ideas in jazz soloing. It emphasizes the need to grasp the necessity of "melody". It opens up the idea of using a players ideas in more than part of a tune. You provide some simple but powerful techniques of phrasing which can apply to any tune. You also introduce double stops in soloing which is a refreshing technique that can be applied anywhere. Your lesson reminds me of ideas I may have forgotten over the years. This is quite possibly your best single video for the reasons I mention. Thanks for refreshing me!
What a perfect time! Especially during this quarantine stuff
Thank you for all of lessons!
Thanks for listing the double stops!!!!!
You're very welcome!
The 3 Bebop Licks Everyone Should Know: ua-cam.com/video/2iFZdLf7a1o/v-deo.html
More valuable content. Love those riffs. Jens, you're such a great palliative to lockdown blues.
7 months ago one of your readers comments was questioning the fourth bar F7 altered cord, the B7#11, and you mentioned the fact that it was a tritone and therefore a lydian dominant. Years ago while in music school I got interested in the lydian dominant through Ted Green's teachings in his book jazz guitar single note soloing volume 1. He called it the overtone dominant scale, acquiring its name from nature's overtone series, something he said he spent some time studying discovering the "what" of the scale but unable to discover the "why". He said these were a magical group of sounds and identified the "what" to be a dominant seventh scale (mixolydian) with a sharp four, which are derived from the overtone series of notes. As it turns out it is a melodic minor scale a fifth above the root. Emily Remiler described this scale as having the natural color tones; 9th, Sharp 11, and 13th, these being the sweet sounding tones She said they were her number 1 dominant scale and described them as being very West Montgomery sounding and ones that do not resolve to the root cord. She said her number two dominant scales were the melodic minor a half step above the root of a dominant 7th chord and ones that did resolve to the root cord. Good examples of tunes that do not resolve to the root would be ones like Sweet Georgia Bright by Charles Lloyd or Killer Joe by Benny Golson. So, in the context of this blues the B7 sharp 11 is not resolving to the one chord, such as a major or minor root cord but rather resolving to the dominant four cord, as Emily Remiler would note. Hope you find this interesting - old folklore from years past.. LOL
Thanks Bill!
Ted Greene is not the only one who calls it the overtone scale. I also think that you have the interpretation of Emily Remler a bit wrong, it is resolving to A one chord not THE one chord, so B7 would never resolve to F7, but for example the D7 later in the progression resolves to Gm which is not the root of the progression but it does resolve, and the lydian dominant sound would not sound very natural there.
Happy Thanksgiving Jens, love your channel
Thank you :) You too
This just what I've been looking for!!! Thank you, Jens!!!!!!!
You're so welcome!
So very helpful Jens! Thank you!!!
Glad it was helpful!
Thanks Jens for a great lesson.
Glad you like it 🙂
Thank you for your lessons !
Glad you like them!
Another amazing post. Jens is like the magician that takes you back-stage to reveal the tricks of his magic. And you go "oooh, that's how he does it!" Thank you Jens!
WOW ! ... Thanks again Jens...top shelf gold !!!
My pleasure!
This is a great lesson that will have me working on the diatonic triads . Thank You Maestro !
You're very welcome! Go for it :)
Jazz Blues is so awesome man! Great work!
Thanks RC!
@@JensLarsen My pleasure!
Thank you Jens
Glad you like it!
Great video lesson!!!🙏🙏🙏
Thank you 🙂
I like using double stops first then an idea of motif .NICE lesson
Great lesson! Thanks!
I found your channel just over a week ago. I’m HOOKED! I love the way you explain all the material and how it applies. I’m in intermediate guitarist and I’ve recently fell in love with jazz. There’s a billon “how to “ guitar channels out there but yours is hands down the best! I come from a punk background but i know theory. I find your videos challenging but not out of reach. I’m really inspired. Thank you for all the great content. Now I’m learning jazz and making music!
Welcome aboard! Go for it :)
Great lesson. Thanks Jens
This is exactly the kind of jazz licks I love. Thanks Jens!
pls make more jazz blues lesson, your lesson is great! thanks😃
I am enjoying this new wave of approach lessons, great🪓work!
Glad you enjoy it! 🙂
You great,man!!! Thanks a lot, Jens!!!
You're welcome!
I can see what I hear from you. Thanks Jens
Another amazing lesson Jens. Thank you so much!!!
Fantasic video! Keep it up Jens!
Thank you 🙂
I really dug the section on double stops, that's one of my favorite things about Chuck Berry. You hear it a lot in soul music too, Steve Cropper does a lot of really nice 6ths, sometimes you can distill a nice 6th out of a triad chord (I think you did a couple of times that in that section of the video). I'm sure I'll re-visit this video with guitar in hand. Nice one Jens! 👏
Super Cours de Blues. Merci !
Great stuff, as always! You can't do too many lessons on jazz blues, IMHO.
Thank you so much for all this content, amazingly helpful!
This lesson really clicks, this is exactly what I’m looking for. Thanks again for these treasure chests of knowledge
Great to hear 🙂
@@JensLarsen just bought the kindle book in the link to really help further 👍👍
Muy bueno, siempre disfruto con el jazz-blues. Muchas gracias maestro.
what a great video! thank you sir.
Magnífica lección. Muchas gracias maestro.
Thank you
Great content, very inspiring, thank you Jens!
Am I the only one hearing a huge similarity between that Charlie Parker bit, and the guitar part from Folsom Prison Blues? Never thought about that before.
Thanks
I think a good tune for that motif in 1 4 line is Blue monk and monk made the motif sound so good
But actually he moves the entire thing in that song and not just one note. I think Straight No Chaser would be closer to what I am talking about
On dominant chords try playing the dorian or minor pentatonic that it is up a 5th of the root.
So if you are on F7 you play Cm. this minor you can think it as being the IIm of a IIm V7 I,
like in Cm - F7 - Bb. You can always add a IIm before a V even if it is not there, an you can always play only IIm
Awesome lesson at just the right time...how Do you Do it, Jens?
Thank you, Eric 🙂
Great video Jens. I love the jazz blues sound. There are many great guitarists like Wes and George Benson to listen to and learn from in playing the blues, but Kenny Burrell tops my list. Correct me if I'm wrong, but I don't know any other jazz guitarist who has a bigger and more impressive recording resume than Kenny. His Wikipedia page is amazing and his jazz blues playing is iconic.
SRV! 🔥🔥🔥
Nice
Thanks
I'd like to buy you a beer one day Jens!
Well, I am fine with that 🙂
Could you make video about jazzy versions of Christmas songs (e.g. "Winter Wonderland")? I would like to play something interesting for my family :-)
Great
Fantastic stuff. I highly recommend Jen’s Patreon channel.
Thanks Brett! :)
I am trying to break into this but it is difficult to understand the jazz backing track in relation to the blues sounds more like jazz than blues could you do a video that has a blues backing track with your jazz ideas over it thanks
I am not really trying to teach people how to play jazz licks on a "normal" 12-bar blues, so I don't think that is something I will do. But there are 1000s of lessons on that on YT already, so I am sure you can find something.
Can you do a double stop lesson
George benson ….. ❤️
At 1:45, where you're discussing the F7alt on bar 4, there's a chord which you've labelled "or B7#11". I see B (root), A(7), D#(3) and G# which is the 6th; what am I missing when I say that I can't make that a sharp 11?
You probably missed that I say that it is a tritone substitute so it is a lydian dominant, ie. a B7(#11)
SRV....😍
I would really like to see Jens Larsen playing a live gig with Diana Krall. I think they would play really nice together.
8:24-a major modulation of “Fixing a Hole” from Sgt Pepper?
Is that B7 sharp 11 a lydian sound? sorry off topic but the chord by itself lydianish? Great lesson thanks
Great lesson Jens. Do you have a link to the piano video? It looked like herbie Hancock.
The link to the Herbie Hancock masterclass is in the description of this video ua-cam.com/video/2pBV5cNEYk4/v-deo.html by Jens entitled "Herbie Hancocks Guitar Inspired Blues Phrasing".
@@paulpmanhowland7818 thank you very much.
My pleasure @@tomcripps7229 happy I could be of service.
In the key of A perhaps :)
モチーフを作って練習します
? Joe Perry.......oh yeah.....the tritone double stop horn jab fill between the vocal line in the chorus "walk this way, JAB JAB, walk this way" ... ah, i see now
There are 3 types of guitarist , the ones who know the math and the ones who don't !
I guess I know what kind I am. Read your post twice before the lights came on.
LMAO
Exactly!
In my experience of playing in bands, , ,Their, are only two types of people, musicians and guitar players.
The third one plays X Box, and their stereo really loud!
😃👍🏻🇫🇮
It is funny that you show a short SRV solo before your video because i guess he would have played most of a solo in F7 with the pentatonic scale at the first fret ,at the 13 th too ......I know he was capable of much more ,for example i don't know where he finds some parts of "rude mood " licks ,well to be honest i can' t make a difference between a major pentatonic scale and a minor one ,i think i kind of mixing them both because i play the minor scales only but year after year i find some new notes ,and i don't have the feeling that i'm reapeating the same licks again and again ,except maybe too many double stops with the b and e string on the same frets .....
I find your technique impressive , really , but was there any blues in that video honestly ??
Jazz comes from the blues ok ,but it's like playing whith his brain and blues is like playing with the heart ,and it's less complicated .....
Well i know some new chords now so thank you , and i see an ocean between jazz and blues ,it is like two different planets , it's like a crying guitar and a singing one .....
I admire jazz players but like Jimi Hendrix i don't understand that music ,i 'll try to listen to George Benson soon ,of course lol Jimi could play some Jazz , not me .....It seems like a jazzman can play any type of music , but if he sticks to it he won't really play the blues with his heart ,by letting his fingers do the job and forgetting everything .....
Are you always capable of relating to all music and judge whether it has heart or not?
Or maybe you just can't feel music like Jazz and that is why you think it has no heart?
@@JensLarsen Well i wasn't too awake when i wrote that comment ,and i can't judge music like that .....Especially if i do like gypsy jazz or Louis Armstrong or Amy Whinehouse for example ......
What i'm surprised to discover today is that maybe Jazz has its roots in blues but modern blues has its roots in jazz too , we play blues solos because of T Bone Walker ,he was the first to do so ,if i'm not mistaken ...The jazzmen were already doing that ....If you listen to "evenin" you can't say if it's blues or jazz ,it's them both ,and his music was a bridge between the two genres ....Robert Johnson is the father of modern blues and rock ' n roll but there wasn't any solos in blues in his time .....
A dream jazz/blues band would have been with Charlie Christian and T Bone walker ,with Christian playing the solos ....I find his style very close to Django Reinhards 's one,
and saying he doesn't play with his heart is insulting .....Oh i've seen one or two photos showing Charlie Christian using his thumb like Jimi Hendrix on the major chords ,well i think both of us know the embellishments Jimi could do by adding his thumb as a "playing finger" ,it is amazing on "bold as love" or "little wing " ...Well i thought i didn't like Charlie Parker 's style at all and i've just listened to two songs and i maybe going to change my mind ....I'm frustrated with John Maclaughlin ,i don't understand his style ,i prefer John Scofield ,i like George Benson "give me the night " it's more disco than jazz ,but i admit i wouldn't go to one of his concerts : i would sleep i guess .....
Well if you don't know the song "somewhere" by Jimi Hendrix try it maybe you going to really love it it's one of my favorites ...Thank you i have discovered Charlie Christian i really enjoy his playing style ....
Sorry for my comment , maybe i'm going to listen to some more jazz ,i'd like to be a better musician ,if i can't stick with nothing but blues and a little bit of reggae on bass , well music isn't everything for me ,not a real passion anymore , i would be better if i had played more during 18 years now ,breakdown .....
Sorry i let you almost a book to read , take care ....
250K subs, 753 thumbs up, and 8 fools who have some beef with Tommy Chong
Most guitar players can play a blues solo??? Well, a bit more practice and a few more videos, Jens, and I'll let you know!!
Go for it!! :)
@@JensLarsen Now I actually watched the video, I realise I actually CAN play some of that! - I'm always using slides too - but your videos are so helpful!
개어렵..
WHY SO MUCH REVERVE?
BECAUSE IT SOUNDS AMAZING! 😁
@@JensLarsen What a perfect response! Directly to the heart, no wasted energy, one clean thrust!
Informative lesson as usual. .......
Thanks Jens!
My pleasure!
Thank you Jens
Great lesson. Thank you very much Jens.