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Technique question for Jimmy Bruno
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Paul Erlich
Hi Jimmy -- thanks for all your wonderful remarks.
Since we have you here, and we normally talk about playing jazz guitar rather than "who's better than who", I thought I'd try to steer the discussions in a different direction, before we lose you entirely (I'm sure you're a busy man)! I started playing guitar many years ago, mostly rock, blues-rock, and classical-rock. After a few years, I realized that in order to be able to pick as fast as I wanted to, I needed to use "economy" picking, i.e., sweeping wherever possible, like you demonstrate in your video. I practiced hard and now, it only takes me a few days of solid practice to get to the point where I can play ridiculously fast scales, picking every note. A few years ago I started focusing on jazzier techniques, such as swing eighth notes. I found that all the years I had spent on economy picking straight sixteenth notes did not help one bit. There was no way I was going, in less than 10 years of further practice, to learn to make my sweeping swing. Instead, when playing jazz or jazzy music, I've reverted to alternate picking for swung eighths, and throw in economy-picked lines in triplets here and there, as a nod to my previous technique. But if the tempo of a swing-feel tune is too fast -- I'm lost. So I guess my question is, do you have any particular advice/approaches for practicing swing feel soloing? Or is it just a matter of practice, practice, practice? Thanks -- just picked up _Like That_ and I'm lovin' it! -Paul |
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Paul wrote
'do you have any particular advice/approaches for practicing swing feel soloing? Or is it just a matter of practice, practice, practice? ' Can I second Pauls request, having recently recorded some gigs and rehearsals I would have to say that I'm disappointed with the lack of swing in my lead playing. I listened to the Pat Metheny guitar lessons that were discussed in recent postings and I totaly agree with what he was saying about the need to get inside the rhythm rather than floating above (or in my case sometimes fighting it). Could I request some thoughts on how and what to practise to develope that sense of playing within the rhythm. Paul like you I find it harder as the tempo increases. I'm sure we cann't be the only ones. Thanks in advance to all those who reply. Best wishes Ian |
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Paul Erlich
--- In jazz_guitar@y..., <ian.jackson.nuages@n...> wrote:
Can I second Pauls request, having recently recorded some gigs andAfter some serious playing and listening last night, I've come to the conclusion that most jazz guitarists _can't_ play uneven eighth notes at very fast tempos, the way most sax players can. My solution is to simply play fast lines straight but a little bit behind the beat -- if you can synchronize the weak eighths with those in the rhythm, your lines will both swing and be "inside the rhythm" while still containing equal note values. I've heard various jazz instumentalists use this technique from time to time. |
Hi Jimmy -- thanks for all your wonderful remarks. Oh please! What wonderful remarks? Bruno's comments have been no more than knee-jerk, childish personal jabs and a declaration that he doesn't listen much to other guitarists and that he doesn't give a damn who's the best guitarist, which is certainly a noble stance but hardly reflected in his impulse to insult where he can. Sorry, Alisdair, to harp on this. I promise you this is the last time. I just found Bruno's responses to be appalling, especially for one who, as a guitarist, has the respect of so many. |
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Paul Erlich
--- In jazz_guitar@y..., Eric Brazier <ericbrazier@y...> wrote:
It's called feeling and soul, all the technique,theory,Was that intended as an answer to me? If so, I am insulted. I put prime importance on feeling and soul, and I expect Jimmy Bruno does to. I was asking him a specific technique question, because sometimes my "soul" has this "feeling" that it wants to play a fast line in swung eighths. Do you have a problem with that? |
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Jimmy Bruno
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I can try to answer your question. The technique part has to be like on auto pilot. so that you're not thinking about the execution of the line. Once that happens you can listen to the music and play what you feel. That's the only thing it's about. Hope it helps although I am not sure who I am answering -- In jazz_guitar@y..., "Paul Erlich" <paul@s...> wrote:
--- In jazz_guitar@y..., Eric Brazier <ericbrazier@y...> wrote:It's called feeling and soul, all the technique,theory,Was that intended as an answer to me? If so, I am insulted. I put |
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Jimmy Bruno
--- sorry if my life does not revolve around the guitar. I have a
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family and other interests. Doesn't matter what I say you will find insult so I will no longer waste my time with this. Everyone is entitled to their opinion about music, players etc.... sorry if mine do not meet with your approval. It would be a boring place if everyone liked the same things. Some of my favorite and most innovative music has come form Stravinsky, Ravel, and Debussy. I also think George van eps is still the most innovative guitarist but one has to listen closely to his weaving of harmonies... to me that is innovation and not change for the sake of change. Well, I enjoyed this brief exchange of ideas. Bye for now In jazz_guitar@y..., ardishall@e... wrote: Hi Jimmy -- thanks for all your wonderful remarks. |
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Mark Stanley
Ya know, I think it's true that you
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cant please everyone. I get a lot from listening to Jimmy and his video has given me new ideas for right hand utilization of ideas. That being said , I think a great player is a great player. I dont like to break it down to technique, "chops" or anything. If you can play, you can play. If there is something you cant play that you want to play, you have to work at it. People's opinions are just that and you cant change them. The best way to learn, I think, is to listen. -Mark --- Jimmy Bruno <jbguit@...> wrote: --- sorry if my life does not revolve around the |
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Mark Stanley
I agree with both of you.
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It's hard to talk about something like technique while listening to great musicians that transcend the instrument like, for me, Metheny, Coltrane, Wayne Shorter, Hubbard, Tyner, lots more. But, I am in practice-mode so much lately that I appreciate anything that helps me play better. -Mark --- Paul Erlich <paul@...> wrote: --- In jazz_guitar@y..., Eric Brazier |
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Ross Ingram
To me, this seems kind of quick to judge.
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Maybe Jimmy is busy listening to other stuff right now-piano voicings???, saxophone lines??? or whatever???. Maybe you misinterpreted his comment or he could of worded it a little better for you? Ross ----- Original Message -----
From: ardishall@... Sent: Wednesday, August 22, 2001 1:12 PM To: jazz_guitar@... Subject: [jazz_guitar] Re: Technique question for Jimmy Bruno Hi Jimmy -- thanks for all your wonderful remarks. Oh please! What wonderful remarks? Bruno's comments have been no more than knee-jerk, childish personal jabs and a declaration that he doesn't listen much to other guitarists and that he doesn't give a damn who's the best guitarist, which is certainly a noble stance but hardly reflected in his impulse to insult where he can. Sorry, Alisdair, to harp on this. I promise you this is the last time. I just found Bruno's responses to be appalling, especially for one who, as a guitarist, has the respect of so many. |
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Eric Brazier
NO,this by no means was meant to insult anyone.It
seems that guitarist are a little anal when it comes to the execution of song.I include myself in this catagory and time to time have to check myself and realize that most of my audience is made up of non musicians and could not give a hoot about my knowledge of theory.A humbling example was when I was playing an absolutely scorching solo over dolphin dance and I was proud,that same eve during my set I let a friend come up,who btw,plays nothing but blues.needless to say,after his first long ,vibrating,sustained,and very soulful note,my regular audience took several minutes to quiet down for the rest of his song.My point,grab the audience with something that is emotional even if it's mary had a lil lamb...so,so,solly...Eric... |
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Jimmy Bruno
thank you Ross.... I don't feel the need to explain the fact that I
don't listen to jazz guitar cds... I play in person with most of those people anyway. we are all friends. And yes you are right... for me... at this point... sax lines and trumpet lines and different types of music have my attention. And sometimes... I get sick of music. I am a professional and do this 24/7 you need a break once in a while. This will be my last post. I don't feel it is appropriate for me to state any opinion of any kind. --- In jazz_guitar@y..., "Ross Ingram" <beadgcf7@m...> wrote: To me, this seems kind of quick to judge.voicings???, saxophone lines??? or whatever???. Maybe you misinterpreted his comment or he could of worded it a little better for you? Rosshe doesn't listen much to other guitarists and that he doesn't give afor one who, as a guitarist, has the respect of so many. |
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Zeek Duff
jazz_guitar@... wrote:
Original Message:Ah, another epiphany!!! Well done Eric, and it bears repeating. If the SONG loses it's meaning in a flurry of overexposed chops, it's no longer "the song." A note Re: Lan Mosher's "Farewell Comments:" Too bad Lan's Prozac ran out... Didn't anyone tell him to get the digest version? Didn't anyone advise him to lay off the coffee? Sheesh... ;) Alisdair, I wouldn't be too bothered by Lan's comments, ego and taste are part of what determines who does what and how. A freely discussed set of opinions is a healthy thing, and becoming offended and thereby reticent only leads to greater misunderstanding. Avoiding conversation altogether accomplishes nothing. Lan may develop on his own, but his development will be devoid of much in his absence from here. I hate to see anyone leave any discussion group, but I have to think it's more his loss than anyone else's... Guitarists notoriously have a hard time taking criticism, and an even harder time accepting a dissection of their playing, especially via comparison to another guitarist. However, it's not personal, even when it's taken personally; it's just that there's no other way to express in few words what one enjoys, or would like to hear, or even expected... Some people become arrogant with success and that's too bad, but a fact of life. When negative comments are made or taken out of context, egos become easily bruised, even if it just seems someone a person likes is the brunt. If one's taste is in question, their whole reason for existing is in question. However, growth and knowledge through discussion can change one's taste and their existence as well; so in an abstract manner, that's a good thing. That's why I suggested Jimmy Bruno write a song based on his one rather intense paragraph. How we live does affect how we play and certainly, vice versa... Anyway, I think all discussion is a good thing, something that contributes to knowledge and especially, if one holds an indefensible position, that discussion is of great intrinsic value to them and any potential growth. Angry flurries of emotion have their place, but if that's all there is and one just isn't listening... :\ This is just like an after-hours jam session. Lan is leaving the tune on a sus11 and it's really too bad he'll never hear the resolution. ;) Jimmy left because he doesn't care to defend statements he doesn't recall making, doesn't read his interviews, and doesn't have time to monitor what "his people" release about him, etc. If he truly doesn't practice anymore, he's either stopped growing or is fast becoming bored. I find that boring, and from cats like that, if you've heard 'em play one tune, you've heard 'em all. Harsh? You betcha. That's life on Earth... I would have liked, even expected a little more humility from Mr. Jimmy Bruno. Had he said something like, "I never meant to imply Metheny can't play jazz, I just don't care for his kind of music." End of discussion. Ah well, onward! :) Regards, ...z "When the song is over, the music is gone; it's in the air, and you can never capture it again." -- John Coltrane -- =---Seek the truth, speak the truth!---= -- L.G. "Zeek" Duff WHAT!Productions! Blue Wall Studio 303.485.9438 ICQ#35974686 |
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Paul Erlich
--- In jazz_guitar@y..., Eric Brazier <ericbrazier@y...> wrote:
NO,this by no means was meant to insult anyone.ItWell, I guess if you knew me, you'd know that I agree with you 100% . . . that said, I still would like to be able to "scorch" in more of a jazz style, as opposed to the blues style which I have down, for the sake of more variety when I play five-hour gigs . . . anyway, Jimmy Bruno still hasn't answered the original question, so I may have to give up! :) |
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Lonnie Brown
zeek quoted
Actually, Eric Dolphy was the one who said that. It was at a gig in Europe about 10 days before he died. It's on an album he recorded live at the gig. Lonnie |
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Jimmy Bruno
-That's a good question Paul. I never had that problem. If you
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truly have the economy picking down you should try practicing it with swing 8th notes. Also, remember about articulations... long notes short notes. Take a Bird solo and try practicing that with the picking. I myself cannnot play alternate picking at all. Practice slurs,,, two downs etc.... all these techniques will give some shape to your lines. I always found it easier to edit what I have practiced. -- In jazz_guitar@y..., "Paul Erlich" <paul@s...> wrote:
Hi Jimmy -- thanks for all your wonderful remarks. |
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Paul Erlich
Thanks for answering, Jimmy! I truly appreciate it.
--- In jazz_guitar@y..., "Jimmy Bruno" <jbguit@y...> wrote: -That's a good question Paul. I never had that problem.Well you're more lucky and/or agile than I am. If youwith swing 8th notes.I have -- it's just extremely difficult for me (at the moment), and even if I sort of get it down at one tempo, then I have to sort of start from square one at a different tempo. Alternate picking does not present these problems for me. Given that I don't have too much time to practice these days, I've simply learned to revert to alternate picking when I want to play a swing-8th line, and if I want to sound like I'm swinging at faster tempos, playing straight with economy picking but a little behind the beat seems to get the effect across. Next time my schedule opens up, I'll have to try working on swinging the economy picking again. Thanks for the advice! I'm surprised to hear that you never had this problem. When playing a sweep arpeggio, it's so much easier to play it straight then swung. To play it straight, you simply drag the pick across the strings at a constant speed. To play it swung . . . aarrrggghh! |
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