I'll tell you what I think. Fabulous! I'm learning the solo from must be Jelly. Alex is the quintessential Blues Man. Alex and William are a marriage made in Heaven. Kinda like a stratocaster and a super reverb. lol ... Keep playing Man, u got it. Thanks for posting, you've help me more than u could ever know!
@@R2BESH He is on countless west coast blues classic recordings. Most of William Clarke records, own Think About It, Tad Robinson & Raphael Wressnig albums and many more… Check out www.alexschultz.com/disc.html
Yeah, that stuff is so sweet! The long way to go is to listen to Alex Schultz, Rick Holmstrom, Junior Watson, Kid Ramos records and try to play along by ear. But there are definitely multiiple shortcuts on UA-cam out those days!
@@fedor57 Thanks man. I got into those players more from listening to William Clarke, Charlie Musselwhite, Kim Wilson etc. Also love what Charlie Baty did. I could maybe pick up some lead parts, but can never figure out the chords. What chords were you using here? I only recognise the 9th, and is that an open C7 shape? Thanks for taking the time to reply.
@@nelsonhibbert5267 that's relatively simple. Generally you have basic I, IV, V blues progression, which you extend with VI and II as common in swinging blues in the last part of the verse (checkout T-Bone for that). Also diminished or I7 to transit from I to IV sometimes. Particular chords (with 6, 7 or 9) you usually choose by ear, like for I you can add 6 for "sugar", for V or VI you sometimes add 7 to sound more harsh or "salty" or you don't. And the general idea: while comping don't ever play full 6-strings chords with multiple repetitive root notes. Roots and dominants are not really much needed at all, so that C7 is not "open", I play 4 strings. Also you don't play every 8 of 8 notes in a bar, more often every second swinging upbeats or even accents only like 3 out of 8 notes with patterns, that's much more musical "information" than when you play 8 out of 8. To swing is No.1 of importance for that music, if you master it, then "strong downbeat" accents start to work in contrast when you play those. To develop it I would suggest absolutely always tapping your foot for the offbeats while playing or even listening as a habit, that creates new important neuro connections in your brain, you start recognizing the swing phrasing patterns much better. Wish you good luck with that amazing stuff!
I love it! Alex Schultz is the master of this style, snd you have captured his tasteful licks so accurately ...Congratulations!
I'll tell you what I think. Fabulous! I'm learning the solo from must be Jelly. Alex is the quintessential Blues Man. Alex and William are a marriage made in Heaven. Kinda like a stratocaster and a super reverb. lol ... Keep playing Man, u got it. Thanks for posting, you've help me more than u could ever know!
My favorite guitar player, can’t find him on Amazon music.
@@R2BESH He is on countless west coast blues classic recordings. Most of William Clarke records, own Think About It, Tad Robinson & Raphael Wressnig albums and many more… Check out www.alexschultz.com/disc.html
@@fedor57 thanks!
The kind of thing I'd love to play, but would have no clue where to start.....
Yeah, that stuff is so sweet! The long way to go is to listen to Alex Schultz, Rick Holmstrom, Junior Watson, Kid Ramos records and try to play along by ear. But there are definitely multiiple shortcuts on UA-cam out those days!
@@fedor57 Thanks man. I got into those players more from listening to William Clarke, Charlie Musselwhite, Kim Wilson etc. Also love what Charlie Baty did. I could maybe pick up some lead parts, but can never figure out the chords. What chords were you using here? I only recognise the 9th, and is that an open C7 shape? Thanks for taking the time to reply.
@@nelsonhibbert5267 that's relatively simple. Generally you have basic I, IV, V blues progression, which you extend with VI and II as common in swinging blues in the last part of the verse (checkout T-Bone for that). Also diminished or I7 to transit from I to IV sometimes. Particular chords (with 6, 7 or 9) you usually choose by ear, like for I you can add 6 for "sugar", for V or VI you sometimes add 7 to sound more harsh or "salty" or you don't.
And the general idea: while comping don't ever play full 6-strings chords with multiple repetitive root notes. Roots and dominants are not really much needed at all, so that C7 is not "open", I play 4 strings.
Also you don't play every 8 of 8 notes in a bar, more often every second swinging upbeats or even accents only like 3 out of 8 notes with patterns, that's much more musical "information" than when you play 8 out of 8.
To swing is No.1 of importance for that music, if you master it, then "strong downbeat" accents start to work in contrast when you play those. To develop it I would suggest absolutely always tapping your foot for the offbeats while playing or even listening as a habit, that creates new important neuro connections in your brain, you start recognizing the swing phrasing patterns much better.
Wish you good luck with that amazing stuff!