Another excellent analysis. One thing that I've noticed - when listening to Wes, I listen to his lines, but I also hear the complete ensemble. Many other Jazz guitarists are playing so many notes that their performance can overwhelm the ensemble and I end up not hearing the song.
Wes has to be one of my most important influences in Jazz. Truly a unique great amongst the greats. Information so accessible to amplify the playing, it's a wonderful thing.
Just noticed, re that moving phrase at 3:40, Bill Laurence of Snarky Puppy did a very similar thing on Broken Arrow that is quite wonderful. Moving phrases around relative to the bar really tickles my ear.
Wes was my introduction to Jazz Guitar - my dad handed me a copy of Boss Guitar and I was hooked. Lovely to see this analysis! (as an aside, I rarely see BG talked about much in comparison to The Incredible Jazz Guitar or Smokin' ... it is well worth a listen to those that haven't had a chance)
Great video Jens. What I like most about Wes is, as you mention, his ability to "tell a story" with his solos. I particularly love his versions of Here's that Rainy Day, and Around Midnight.
This was fantastic Jens! I could listen to you breakdown Wes' playing all day, capturing the essence that is Wes. As great as Pat Martino, Kenny Burrell (two of my all-time favorites) and many others were/are, Wes, to me, will always be in a class by himself. Cheers! MB
Great video again Jens. When I read Music as an Undergraduate at Uni I was fascinated by Motivic Development. I'm grateful for that background. I'm no less interested in it to this day. Its use in following changes, acting as a repeated riff / phrase or call and response is powerful. I can still be guilty of playing endless (fairly aimless) eighth notes at my local Blues / Rock Open Mic nights too but I can (to some extent) voice lead them. The punters (audience) surprisingly like the voice 'led' (?) stuff a lot. Even if listeners know little of Music, they still like to hear patterns in it. They don't hear it anywhere else. The Exercise tips at the end of this video are great. Everyone ought to have a go at them. Now I have 'the guilts' from telling everyone else what to do. I like so many Jazz guitarists but Wes is SO easy to listen to.
A good music teacher shows a piece of music and allows the students to see the same joy that they experienced the first time their mind was blown by that piece. See 1:10 for a great example.
Another really great video, Jens. I like the idea of the storytelling approach that Wes adops to his soloing. By playing simple phrases , then juxaposing rhythmicly and slowing adjusting the notes, makes the solo travel a journey that can captivate a listener. This seemingly simple approach creates a deceptively dense level of depth that makes his solos sound elaborate.
Jens, do you have a video in which you teach playing a chord then immediately following that by a brief solo phrase for that chord, then change the chord, and so on? In all the videos I've seen, you show the chords and soloing separately, but it would be great to be able to try something where we are our own rhythm and solo sections 'in one', back and forth. I hope that makes sense. You're the best, thanks.
Wes has it all but is rarely praised for his strong, inventive and flexible sense of rhythm, something an old and retired drummer, me, noticed early on.
Hello Jens! I ordered your two books yesterday, and I look forward to check them out. Does it mean I I'll never need to learn anything from your YT channel anymore? 😂
Hi Jens, this question is off topic, but I'm wondering what you think of Robben Ford's playing? I've seen him interviewed a number of times and he seems like a genuinely nice guy. I'm well aware he's a blues player, but I really like how he adds elements of jazz to make his playing more fresh and melodic UA-cam has a number of videos of his playing. I think he and his playing are totally cool!
Apologies for sticking my nose in here. You'd be surprised at the number of Blues, Rock, Country (and other styles) Guitarists who have had some Jazz training. You don't have to play Jazz but some elements of Jazz training help other styles. It's helped me a LOT. Still does - always will. Cheers 😁
Jens, I thought I subscribed to your channel two-three years ago. Yesterday I learned I am not a subscriber. I think what happened is I would periodically watch some of your lessons, but found much of the material over my head so I failed to subscribe. Huge mistake! After watching and taking notes on the lessons you presented that you learned from Barry Harris I began working with some of the concepts and immediately a few new doors and windows opened and my ears perked up to new tonal possibilities. I will make a donation and join your patreon page/group before the end of the day. Periodic, casual viewers take note of my ignorance and don't repeat it!
Many thanks Jens, as for chord melody could you maybe do something on pedal tones? I'm thinking of the chord solo on Lolita, portrait of wes. Sorry I can't afford to contribute to the channel for now, will do soon. Anyway thanks again for all your work.
Glad you like it! I don't really know what part of the chord solo you consider pedal notes? I hear a lot of motivic stuff, but not really pedal points?
@@JensLarsen Around 2 minutes 30 secs, Wes plays all these moving chords with same top note. I heard joe pass talk about pedal tones too, was just a notion, I'm only a beginner perhaps that's the wrong description. Thanks for your reply.
@@jasonmudgarde286 So I only listened to it quickly but it sounds mostly like a turnaround with the 3rd in the melody carrying over to the next chorus. If you want to study pedal notes then chord solos is not where you begin.
Last question, I promise Jens! Is Jobims One note Samba an example of a pedal tone in the verse? Sorry for bending your ear about the subject, I'll look it up further. Many thanks again. 👍
Jens, do you ever scat sing the call and response lines to yourself , or sing it in your head? Just trading back and forth with another player with no accompaniment has helped me immensely and provides much amusement
The concept of a guitarist 'breathing' like a horn player was then all in vogue. My jazz teacher told me that back in the 70's. But then faster player's like Martino, Dimeola, and Mahavishnu Mclaughlin cast it aside. Now everyone is a speed demon. Was Wes a lefty? Those octaves, he is still the best and though icons like Ritnour, Benson, even Hendrix, etc.. pop them out once in a while their stamina seems lacking.That Miles like blues tinge, the bitter if not sour notes. Wes could have played a blues slide guitar with his technique, and make's a mundane lick sound un-corny.Why no one plays the L-5 that much is another mystery ( other than cost)... I mean plywood? I like the analysis, Wes rhymes with best!
I don't know, if that is maybe a bit overly negative? Scofield, Metheny, Frisell and more traditional players like Bernstein all breathe and have a lot of space in their playing.
Yep, the tide is turning back a bit. Mahavishnu is even breathing a bit easier. More octave master's, it's the only way to compete with the horns because they can't. It's tough to do though.
Does anyone has any recommendations for a jazz guitar suitable for fingerpicking. I play on an acoustic now and I find the neck to be a bit to bulky and causes pain when I try to do some bigger stretches for chords. I would really appreciate any suggestions.
All famous guitarists are very prolific on the guitar, but Wes is not only prolific on the guitar, but something more important is ideas, in that sense I am the best, his lyricism is superior to any guitarist!...
Best guitar channel.
Thank you!
Thanks,Jens🌹🌹⭐🌹🌹
Another excellent analysis. One thing that I've noticed - when listening to Wes, I listen to his lines, but I also hear the complete ensemble. Many other Jazz guitarists are playing so many notes that their performance can overwhelm the ensemble and I end up not hearing the song.
Thank you! Yes, the clarity and simplicity of his solos is really what makes them stand out!
Wes has to be one of my most important influences in Jazz. Truly a unique great amongst the greats. Information so accessible to amplify the playing, it's a wonderful thing.
Certainly 👍 Thanks Ron!
@@JensLarsen Cheers!
Just noticed, re that moving phrase at 3:40, Bill Laurence of Snarky Puppy did a very similar thing on Broken Arrow that is quite wonderful. Moving phrases around relative to the bar really tickles my ear.
Wes was my introduction to Jazz Guitar - my dad handed me a copy of Boss Guitar and I was hooked. Lovely to see this analysis! (as an aside, I rarely see BG talked about much in comparison to The Incredible Jazz Guitar or Smokin' ... it is well worth a listen to those that haven't had a chance)
Danish mountains - ahahaha! And as always, great lesson. Listening to some Wes now.
Glad you enjoyed it!
Great video Jens. What I like most about Wes is, as you mention, his ability to "tell a story" with his solos. I particularly love his versions of Here's that Rainy Day, and Around Midnight.
Cool, thanks!
Yeah, the round midnight playing is so sick. Didn't really like that song until I heard his version.
@@lbb2rfarangkiinok I was like that at first too, but now I can listen to Monk all day. Maybe my biggest non guitar influence.
second that on 'Round Midnight just fantastic soulful melodic guitar playing by Wes on that tune
great lesson, Mr. Larsen! Thank you
Glad you liked it!
This was fantastic Jens! I could listen to you breakdown Wes' playing all day, capturing the essence that is Wes. As great as Pat Martino, Kenny Burrell (two of my all-time favorites) and many others were/are, Wes, to me, will always be in a class by himself. Cheers! MB
Thank you 🙂
You never stop learning bro
Always
Great video again Jens. When I read Music as an Undergraduate at Uni I was fascinated by Motivic Development. I'm grateful for that background. I'm no less interested in it to this day. Its use in following changes, acting as a repeated riff / phrase or call and response is powerful. I can still be guilty of playing endless (fairly aimless) eighth notes at my local Blues / Rock Open Mic nights too but I can (to some extent) voice lead them. The punters (audience) surprisingly like the voice 'led' (?) stuff a lot. Even if listeners know little of Music, they still like to hear patterns in it. They don't hear it anywhere else. The Exercise tips at the end of this video are great. Everyone ought to have a go at them. Now I have 'the guilts' from telling everyone else what to do. I like so many Jazz guitarists but Wes is SO easy to listen to.
There is nothing wrong with having your own approach, and there is room for everyone, I am sure you are doing fine 🙂
@@JensLarsen Thanks Jens 😁
saw the notification for this video's premiere on my phone when my phone alarm went off, I wanted to get up so bad but I slept in
All in all, really liked the video. Perfect description as to why Wes was such a G
An excellent video Jens. Thank you for helping keep some of us centered, and focused on the things that matters.
Glad it was helpful!
Excellent lesson, Jens. "Steps #1: Learn to Hear It" - yes!
Thank you, Adam 🙂
A good music teacher shows a piece of music and allows the students to see the same joy that they experienced the first time their mind was blown by that piece.
See 1:10 for a great example.
Great video Jens thx
Glad you enjoyed it!
Great lessen! I think it’s one of your best👍🏻👍🏻
Thank you Marco! That really makes my day!
Stellar
Really great 🎯 analysis Jens of particular aspects of Wes' playing. Very helpful as ever
Glad you think so!
Love love love love Wes!!! This is an awesome exploration of his technique
Thank you 🙂
Great video! Wes is a great guitarist.
Couldn't agree more!
Well presented; thank you for sharing.
Glad it was helpful!
He was born with it.
well done Jens, just perfect and easy to understand. Be great to make a simple practice video for beginners using Wes examples.
Thank you! I am not sure I would consider his solos ideal for that to be honest.
Another really great video, Jens. I like the idea of the storytelling approach that Wes adops to his soloing. By playing simple phrases , then juxaposing rhythmicly and slowing adjusting the notes, makes the solo travel a journey that can captivate a listener. This seemingly simple approach creates a deceptively dense level of depth that makes his solos sound elaborate.
Thank, Jonathan. Yes it's a great way to create a longer story
Hello all you guitar players 🏴
👋
👋🏾
Great work Jens
Thank you!
I like long Bach style 8th notes solos too!
Interesting video, and I enjoy the humor 😂 That must have been Himmelbjerget....
Haha! Thank you! 🙂
Agree about PM and so many other players. Too many notes. I have heard them all in person many times. Wes was the best and I believe, always will be.
Jens, do you have a video in which you teach playing a chord then immediately following that by a brief solo phrase for that chord, then change the chord, and so on? In all the videos I've seen, you show the chords and soloing separately, but it would be great to be able to try something where we are our own rhythm and solo sections 'in one', back and forth. I hope that makes sense. You're the best, thanks.
I did a few videos on this at the very beginning of the channel. Here's one: ua-cam.com/video/W_HtIFFZ2F4/v-deo.html
What do you like the most about Wes' playing?
Check out this perfect Jazz Blues solo: ua-cam.com/video/PBOpRy6ghJs/v-deo.html
Wes has it all but is rarely praised for his strong, inventive and flexible sense of rhythm, something an old and retired drummer, me, noticed early on.
Hello Jens! I ordered your two books yesterday, and I look forward to check them out. Does it mean I I'll never need to learn anything from your YT channel anymore? 😂
Thank you 🙂 Hope you find something you can use!
Is there mountains in Denmark?🤔
We have massive mental mountains 😁
Which Guitar is this? Thinking about buying an Ibanez JSM10!
That is my Ibanez AS2630 🙂
Hi Jens, this question is off topic, but I'm wondering what you think of Robben Ford's playing? I've seen him interviewed a number of times and he seems like a genuinely nice guy. I'm well aware he's a blues player, but I really like how he adds elements of jazz to make his playing more fresh and melodic UA-cam has a number of videos of his playing. I think he and his playing are totally cool!
Apologies for sticking my nose in here. You'd be surprised at the number of Blues, Rock, Country (and other styles) Guitarists who have had some Jazz training. You don't have to play Jazz but some elements of Jazz training help other styles. It's helped me a LOT. Still does - always will. Cheers 😁
Yes he seems like a super nice guy, I listened a lot to his 2nd album which I really liked, but that was before I got into jazz.
Jens, I thought I subscribed to your channel two-three years ago. Yesterday I learned I am not a subscriber. I think what happened is I would periodically watch some of your lessons, but found much of the material over my head so I failed to subscribe. Huge mistake! After watching and taking notes on the lessons you presented that you learned from Barry Harris I began working with some of the concepts and immediately a few new doors and windows opened and my ears perked up to new tonal possibilities. I will make a donation and join your patreon page/group before the end of the day. Periodic, casual viewers take note of my ignorance and don't repeat it!
Many thanks Jens, as for chord melody could you maybe do something on pedal tones? I'm thinking of the chord solo on Lolita, portrait of wes. Sorry I can't afford to contribute to the channel for now, will do soon. Anyway thanks again for all your work.
Glad you like it! I don't really know what part of the chord solo you consider pedal notes? I hear a lot of motivic stuff, but not really pedal points?
@@JensLarsen Around 2 minutes 30 secs, Wes plays all these moving chords with same top note. I heard joe pass talk about pedal tones too, was just a notion, I'm only a beginner perhaps that's the wrong description. Thanks for your reply.
@@jasonmudgarde286 So I only listened to it quickly but it sounds mostly like a turnaround with the 3rd in the melody carrying over to the next chorus. If you want to study pedal notes then chord solos is not where you begin.
@@JensLarsen Thanks for your reply Jens, I'll try to study more.
Last question, I promise Jens! Is Jobims One note Samba an example of a pedal tone in the verse? Sorry for bending your ear about the subject, I'll look it up further. Many thanks again. 👍
Jens, do you ever scat sing the call and response lines to yourself , or sing it in your head? Just trading back and forth with another player with no accompaniment has helped me immensely and provides much amusement
That can be fun, but it is not an exercise I have spent a lot of time on 🙂
The concept of a guitarist 'breathing' like a horn player was then all in vogue. My jazz teacher told me that back in the 70's. But then faster player's like Martino, Dimeola, and Mahavishnu Mclaughlin cast it aside. Now everyone is a speed demon. Was Wes a lefty? Those octaves, he is still the best and though icons like Ritnour, Benson, even Hendrix, etc.. pop them out once in a while their stamina seems lacking.That Miles like blues tinge, the bitter if not sour notes. Wes could have played a blues slide guitar with his technique, and make's a mundane lick sound un-corny.Why no one plays the L-5 that much is another mystery ( other than cost)... I mean plywood? I like the analysis, Wes rhymes with best!
I don't know, if that is maybe a bit overly negative? Scofield, Metheny, Frisell and more traditional players like Bernstein all breathe and have a lot of space in their playing.
Yep, the tide is turning back a bit. Mahavishnu is even breathing a bit easier. More octave master's, it's the only way to compete with the horns because they can't. It's tough to do though.
Will it be insanely easy to implement into my playing ? I love Wes, suck at jazz guitar, but can’t stop playing. 🤔
Norwegian mountains* ;)
Then its doesnt fits what he is saying.
Does anyone has any recommendations for a jazz guitar suitable for fingerpicking. I play on an acoustic now and I find the neck to be a bit to bulky and causes pain when I try to do some bigger stretches for chords. I would really appreciate any suggestions.
👏🏼👍🏻👏🏼👍🏻👏🏼
All famous guitarists are very prolific on the guitar, but Wes is not only prolific on the guitar, but something more important is ideas, in that sense I am the best, his lyricism is superior to any guitarist!...
I wonder who his teacher was.. There's always a grand master, just like star-wars i guess.
Full house changed my life
wes is different ı dont know what makes it but it sounds more mature and expressive. Other jazz guitarists sounds like raw.
Real talk: what's the difference between a rhythmic motif and a riff?
Development. A riff is usually much more repetitive than a motif
Are there enough Pat Martino fans for a Riot … ? 😂😂
Yes! (or at least enough to flood my inbox 😁)
@@JensLarsen 🤪🤪🤪
If Wes were to see this video, he would say, "So that's what I do?".
Pat Martino fans are legit terrifying
I have had several angry emails in my time 😁
You are right, though. All Pat Martino ever did was run scale. As much as he wanted to sound like a tenor player, he forgot to breathe
Like Joe Pesci “Casino” terrifying?
@@BluesSky not really
106 more minutes, guys!
Are you sure about that? 🙂
@@JensLarsen Imagine my sadness, Jens. Imagine my sadness.
@@lbb2rfarangkiinok turn on notifications 🙂
@@JensLarsen I did.
@@lbb2rfarangkiinok Thank you 🙂
Also I’m 69 so my learning curve is pretty flat. ✌🏽
Me too!!!