开云体育

What did you guys say is the best book for learning the technique and "riffs" of Charlie Christian? I"ve always been attracted to his work.

What I love about him and Django too is how natural their lines sound, riffs or not. In a way they invented jazz guitar ( Pass was a huge Django fan and Wes a huge Christian fan). They also have a ton of humor in their solos. That is something that is often missing in ultra serious music today, humor and wit. It seems they weren't burdened by all the theory that can bog us down.

john

I have several transcriptions of Charlie Christian solos plus
the accompanying Benny Goodman solos and tunes.

I have found the Goodman solos to be a great musical resource,
wind players do not play in patterns like guitar players and
so learning these (along side Christian`s work,) enables a great deal of "sideways" thinking.

Will

Weidlich's The Guitar Chord Shapes of Charlie Christian is good for the nuts and bolts.

Wolf Marshall's The Best of Charlie Christian is also good if you want transcriptions of his solos.

-Keith

john wrote:

What did you guys say is the best book for learning the technique and "riffs" of Charlie Christian?

My recommendation is to check out Stan Ayeroff's book titled "Charlie Christian, 18 important solos as played by the pioneer of jazz guitar...." I bought this ca. 1977 and haven't checked to see if it's still in print. In addition to the transcribed solos, there are extensive notes on the improvisational concepts and fingerings. As far as I can tell, the transcriptions are scrupulously accurate. I've compared e.g. "Honeysuckle Rose" to the original recording and can't find any discrepancies. FWIW....

Jay

My recommendation is to check out Stan Ayeroff's book titled "Charlie
Christian, 18 important solos as played by the pioneer of jazz guitar...." I
bought this ca. 1977 and haven't checked to see if it's still in print.

Looks like Mel Bay have brought out an expanded edition with the obligatory CDs (no CDs included in 1977!). From the samples on their site it might well cover the content of the two books I mentioned. And I like the fact that it has slow and fast recordings of the solos, which the Marshall books never do.

-Keith

I have found the Goodman solos to be a great musical resource,

Exactly, while I like the CC solos it's when the clarinet comes in
the my ear gets excited. Good thing I'm wearing a hat!

Ron
Living and playing outside the box.




[Non-text portions of this message have been removed]

the absolute best resource i found was garry hansen's site, which seems no longer to be online; this site had the audio of each solo isolated, the transcription, and the tab, along with heaps of info on how charlie actually played. leo valdes site runs a close second, here is the transcriptions page:
ed

At 12:06 PM 11/19/2010, Ron Becker wrote:

I have found the Goodman solos to be a great musical resource,

Exactly, while I like the CC solos it's when the clarinet comes in
the my ear gets excited. Good thing I'm wearing a hat!

Ron
Living and playing outside the box.

Goodman solos are so friggin' melodic. I don't suppose you could use his licks nowadays for a blues, they's sound corny, but it's so far beyond what usually passes for blues (non-bop) soloing today.... it's made up of real melodic fragments rather than scales and psychomotor reflexes of the left hand...

On Nov 19, 2010, at 11:09 AM, David B. Klein wrote:

At 12:06 PM 11/19/2010, Ron Becker wrote:

I have found the Goodman solos to be a great musical resource,

Exactly, while I like the CC solos it's when the clarinet comes in
the my ear gets excited. Good thing I'm wearing a hat!

Ron
Living and playing outside the box.

Goodman solos are so friggin' melodic. I don't suppose you could use
his licks nowadays for a blues, they's sound corny, but it's so far
beyond what usually passes for blues (non-bop) soloing today.... it's
made up of real melodic fragments rather than scales and psychomotor
reflexes of the left hand...

Been threatening for years to learn some of that stuff. It might
sound corny at what passes for a blues jam today [ pentatonic string
bending masturbation ] but it would fly at a jazz gig for a chorus or
two. Or just about any other kind of gig. Loved that stuff first time
I noticed it in the early fifties and still do. It was probably on
since I could hear at our house and my uncle's but it took a while to
sink in. I was six or something like that. It was just about oldies
by then.

Ron
Living and playing outside the box.





[Non-text portions of this message have been removed]

--- In jazz_guitar@..., ehewitt <ehewitt@...> wrote:

the absolute best resource i found was garry hansen's site, which
seems no longer to be online; this site had the audio of each solo
isolated, the transcription, and the tab, along with heaps of info on
how charlie actually played.

It was a great site. I do not know how legit it is but someone put
together a pdf of the whole site. I will upload it to the file
section.

Mark

Goodman solos are so friggin' melodic. I don't suppose you could use
his licks nowadays for a blues, they's sound corny, but it's so far
beyond what usually passes for blues (non-bop) soloing today.... it's
made up of real melodic fragments rather than scales and psychomotor
reflexes of the left hand...

Well put - infectious, delightful - and the sound textures he squeezes out of that thing while remaining melodic! "Licks" was a dirty word among my jazz crowd a few decades ago - that was considered a crutch for Rock n' Roll players.

On Nov 19, 2010, at 12:48 PM, pecpec wrote:

"Licks" was a
dirty word among my jazz crowd a few decades ago - that was
considered a crutch for Rock n' Roll players.

The word licks has a country connotation to it for me. One last step
lower is Lead. eeeeeewwwwww.

Ron
Living and playing outside the box.





[Non-text portions of this message have been removed]

and that is even better

That Mel Bay book on guitar rhythm chord technique was really helpful for me in learning chords that fit together in the same position on the neck while comping fast.

j


And I like the fact that it has slow and fast recordings of the solos, which the Marshall books never do.

WELL THANK YOU MARK! That would be amazing! I can't think of a better thing for many of us amateurs to study.

I see everyone worships CC. Why not.

j


I will upload it to the file

john,

Check out this free pdf. file of "Charlie Christian's Approach"



Here's a great book, "The Best of Charlie Christian: A Step-by-Step Breakdown of
the Styles and Techniques of the Father of Modern Jazz Guitar (Guitar Signature
Licks) [Paperback]"



John Amato
Isaiah 55:11








________________________________
From:john <deanwork2003@...>
To:jazz_guitar@...
Sent:Fri, November 19, 2010 9:55:20 AM
Subject:[jazz_guitar] Charlie Christian Licks


What did you guys say is the best book for learning the technique and "riffs" of
Charlie Christian? I"ve always been attracted to his work.

What I love about him and Django too is how natural their lines sound, riffs or
not. In a way they invented jazz guitar ( Pass was a huge Django fan and Wes a
huge Christian fan). They also have a ton of humor in their solos. That is
something that is often missing in ultra serious music today, humor and wit. It
seems they weren't burdened by all the theory that can bog us down.

john

--- In jazz_guitar@..., Bob Hansmann <bobbybmusic@...> wrote:

On 11/18/2010 6:37 PM, Bob Hansmann wrote:

The Charlie Parker Omnibook is a great
example of this. In the end, all things lead to better music.

Two more things:
1) Charlie Christian was a "lick" (riff) player, and that's how Tal
Farlow studied him (and nobody studies Charlie Christian more than Tal
or Wes).

2) Both Ron Becker & I have both managed to discuss licks and keep it
musical....

best,
Bobby

[Non-text portions of this message have been removed]

Like Dan Hicks and his hot licks?

"Licks" was a dirty word among my jazz crowd a few decades ago - that was considered a crutch for Rock n' Roll players.

--- In jazz_guitar@..., "john" <deanwork2003@...> wrote:

Like Dan Hicks and his hot licks?

Funny - that was my old jazz guitar teacher's favorite "contemporary" band in those days.

Yea he did have 'hot' licks and he did rock with passion.

I'll tell you one thing for sure. I'm a visual artist and a member of a lot of these yahoo groups and this particular creative group rocks like none of the others (or should I say swings). All the folks that make this amazing group happen do it out of a labor of love, pure and simple, and that is what jazz is all about and why it continues to thrive as the greatest American art form ever created.

john

On Nov 19, 2010, at 3:06 PM, john wrote:

WELL THANK YOU MARK! That would be amazing! I can't think of a
better thing for many of us amateurs to study.

I see everyone worships CC. Why not.

j

I will upload it to the file

section.

Same here Mark thanks be unto you.

Ron
Living and playing outside the box.




[Non-text portions of this message have been removed]

On Nov 19, 2010, at 3:08 PM, john wrote:

Like Dan Hicks and his hot licks?

"Licks" was a dirty word among my jazz crowd a few decades ago -
that was considered a crutch for Rock n' Roll players.

No they were Cool.

Ron
Living and playing outside the box.