Tag Archives: soul

Great Guitarists #4: Kenny Burrell

Today we look at the man behind one of my favourite jazz albums of all time…

Kenny Burrell

Kenny Burrell, at the Midnight Blue sessions, 1963

Born in Detroit, Michigan, in 1931, and into a musical family, Burrell has been recording and performing on the guitar since the start of the 1950’s.

Burrell’s recording debut recording was as part of none other than trumpet player Dizzy Gillespie’s sextet in 1951. He started recording solo records almost immediately after, often working in collaboration with other big names in jazz. His discography as band leader is enormous (well over fifty studio cuts). Yet Burrell still found time to work as a sideman for scores of artists, such as Oscar Peterson, Tony Bennett, Billie Holiday, Bill Evans, Wes Montgomery and Benny Goodman (taking the chair once held by his hero Charlie Christian), and many, many more.

His main guitar influences are a mix of jazz (Charlie Christian & Django Reinhardt) and blues (T-Bone Walker & BB King). This blurring of the lines between jazz & blues continued throughout his career, in a style known as Hard Bop (or Soul Jazz). This sub-genre of jazz, of which Burrell is considered a key proponent, is considered by some to be a reaction to the Cool Jazz of the West Coast musicians. His warm tone came from his Gibson Super 400 (a fairly large archtop) combined with failing down the treble on his Fender amplifiers for a ‘fatter’ tone.

One of the reasons I really enjoyed listening to Kenny Burrell when I started learning jazz was how accessible he made the genre sound. His more blues-tinged works (see below) provided an aural link I found familiar as a blues player. However, I soon discovered that his phrasing was as sophisticated and intelligent as the other jazz players – he just made it sound effortless. Making such advanced playing appear so effortless, and therefore more listenable, is one if the traits which makes Burrell a great guitarist!

Essential Listening

It can only be Midnight Blue (1963). I’ve linked to the title track here – a masterclass in laid back, bluesy jazz – but do yourself a favour and spare yourself 45 minutes to enjoy the entire album.

To hear a different side to Burrell’s playing, try Kenny Burrell & John Coltrane, also from 1963. Bebop plays more prominent on this album although Burrell’s tasteful restraint still shines through,and hearing him trade solos with Coltrane feels genuinely seminal. This LP is an underrated album which deserves more attention and acclaim.

I’ll be back with another Great Guitarist tomorrow. Until then, don’t be shy about getting in touch with your thoughts on the series so far, as well as your suggestions for future features. Bye for now!

Great Guitarists #3: George Benson

We’ve already reached the third installment in this week-long special celebrating Great Guitarists. Today’s player has a connection to my first featured player, Earl Klugh, and is another guitarist influenced by Wes Montgomery. Any guesses? Read on…

George Benson

Born in 1943 in Pittsburgh, Pennsylvania, Benson started performing at the age if eight, and recorded his first single a year later, although it did not garner much success for him at the time. After graduating high school, Benson found work as a sideman, and recorded his first record as band leader, The New Boss Guitar of George Benson in 1964, aged just twenty-one. Amazingly, his guitar during these early years was hand-built for him by his stepfather!

Benson continued a prolific run of albums throughout the sixties & seventies, often with some big jazz names guesting (Earl Klugh played guitar in his band for two albums and tours in 1972-73). He even found time to perform on the Miles Davis track ‘Paraphernalia’ from Miles In The Sky (1968). To date, Benson has released thirty-six albums across the last six decades and still tours regularly, which certainly puts plenty other musicians to shame!

Guitar Style

A lifelong user of archtop guitars, such as his signature Ibanez models, Benson’s playing style comes directly from his hero and number one influence, Wes Montgomery. Like Montgomery (and Klugh), Benson doesn’t use a guitar pick, nor does he employ the conventional classical method in his fingerpickng. Instead, all three make extensive use of their thumbs. When using his other right hand fingers, Benson seems to use the rest stroke style of Django Reinhardt.

What sets Benson apart is his speed, all while remaining fluid and innately soulful. It’s hard to maintain a melodic heart during such fast runs, although Benson’s habit if singing/scatting his guitar lines while improvising them probably helps!

Essential listening

To be honest, Benson’s back catalogue is chock full of amazing guitar work. However, if you’d prefer to stay away from the singing, anything before the 1976 album/hit instrumental Breezin’ is your best bet. Personally, I’d recommend White Rabbit (1972) and the wonderfully titled Giblet Gravy from 1968 (featuring fellow jazz legends Herbie Hancock & Billy Cobham, among others) for starters.

Good King Bad (1976) shows where Benson’s style was heading, with a tighter, funkier backline, which some critics believe led to more focused phrasing in his guitar playing. The title track from this album, Theme from Good King Bad, demonstrates Benson’s soloing prowess wonderfully. Yes, the main theme might sound a little dated to our ears, but stick with it. The guitar solo (over the song’s B section) starts with octave melodies, then three notes at once, moving as melody chords, before Benson really starts to cut loose with some dazzling – yet tasteful – single note phrases.

One of the things that I love about this solo in particular is Benson’s choice of landing note. Namely, where he ends his phrases, and how they relate to the chords underneath. This is something I plan on exploring deeper in a future post, but it’s worth summarising here: with a strong opening and a tight landing will make almost all solos (or the phrases they are made up of) sound great. This is something Benson has done throughout his career, and he still seems to be going strong, continuing to record and perform through his eightieth decade…

Meet me back here tomorrow, for Day Four in this mini series. As always, let me know what you think. I’d especially love to hear your suggestions for future players to feature, as I plan to continue adding to this series as a semi-regular theme from time to time. Make your voice heard!

R.I.P. Dr John (1941-2019)

Terribly sad news that another musical legend has passed away – another musician who has been a huge inspiration to me over the years…

When trying to describe my new still-in-progress project to people, I mention that it could sound a little like Dr John. While this may be true, in terms of a focus on the gritty, lo-fi blues, jazz & soul from New Orleans, admitting the influence feels like stealing a sacred cow. No one can, or ever will, sound like Dr John…

But if you listen closely, he could surprise you by jumping out of any preconceived notions you may have of him. To me, that’s what his music was all about – taking one thing, and throwing it into a mix (and a groove) with several other elements, leaving us with something which never quite sounded exactly the same twice, and was all the better for it.

He will be missed & I’ll be giving his back catalogue a spin today (especially ‘Gumbo’ and my personal favourite, ‘In The Right Place’).

R.I.P. Malcom ‘Dr John’ Rebbenack (1941-2019).

You can read one of many effuse obituaries online, such as this one from Pitchfork. Enjoy x

Video: Funk & Soul Medley (with Switch)

Been a while since my last post (several life-changing events recently – all positive!) but thought I’d post a new video from Switch.

For those new to my blog, Switch are my main function band at the moment. I’ve been their guitar player since the beginning of 2015, and we’ve performed at all manner of function & event in that time.

This medley was recorded last winter, but only recently uploaded by the band. It features three funk & soul songs, all of which are staples of the wedding/function band scene:

  • Signed, Sealed, Delivered (Stevie Wonder)
  • Never Too Much (Luther Vandross)
  • Ain’t Nobody (Chaka Khan)

This medley showcases Switch’s full six-piece lineup of female vocals, bass, drums, keys, guitars & male backing vox (me), plus alto sax & female backing vox.

For my part in this recording, the guitar used was my Fender Modern Player Stratocaster (short scale model), DI’d direct into the studio desk. Recording took place at Nemix Studios in Newcastle upon Tyne, England. I must admit that I don’t know which ‘re-amp’ patches were used for my guitar tones, other than I requested a Fender Blackface/Deluxe style amp for the clean sound. Sorry there isn’t any more detail….

As always, let me know what you think. In case the video above does not play, you can access it on YouTube here.

Enjoy! xx

New Year’s resolutions for guitar players

As a general rule, I don’t believe in New Year’s resolutions. My philosophy is that changes can be made at any time, so why wait until January?

However, there is something about the end of a year which causes us all to reflect on the previous twelve months and start focusing on our plans for the next twelve. For us working musicians, many of us have recently reached the end of one of our peak times, the ‘Christmas Party Season’.

Like many bands who find most of their work comes from weddings & function work, 2016 ended for me with a NYE gig. In January, things start to feel a little quieter by comparison, which gives us time to ponder on the gigs we’ve enjoyed, what we didn’t enjoy, and what we hope to change for the new year.

So, with that in mind, here are a few of my suggestions for guitar-related resolutions for musicians looking to grow as better musicians in 2017:

  • Learn a new style.

Always wanted to start learning those jazz chord voicings? Perhaps you keep meaning to work on your reggae & ska rhythm playing? Or your country picking? Blues slide? The list goes on…

Take the time to work on these new genres & styles of playing. We are very fortunate to live in a time where we can access a world of free tutorials on the Internet, or videos in YouTube. However, don’t rule out the possibility of taking lessons to focus on specific areas – working one to one with an experienced guitar tutor does wonders for improving your playing! 

  • Mix things up.

Learning a style doesn’t mean you have to abandon all you know & travel the world playing strictly Django/gypsy jazz for the rest of your life (though I imagine there are plenty of worse ways to live)!

Have you found that the majority if your playing has been on acoustic guitar? Trying swapping to electric more often (or vice versa). Do you always practise at the same time of day? If possible, can you change to a different time? Your brain operates differently throughout the day – you may well find yourself going down very different musical avenues simply by switching from a morning to an afternoon practice session.

Sometimes learning to play a song you are very familiar with in a new style works brilliantly in helping your playing. Not only do you freshen up material which might be getting a bit stale, but you’ll have a safer means of exploring new options in your guitar playing.

One area of guitar playing I can’t recommend highly enough is solo performance. By this, I don’t mean the lead guitar solo in a song, but playing the melody, harmony, rhythms, etc on one unaccompanied guitar. It’s something a piano player wouldn’t think twice about, but I’m frequently amazed at how many guitarists simply haven’t tried it properly! If you’re unsure about how to start doing this, there are several books, online tutorials (like this blog!), and of course YouTube videos to help inspire you. Which brings us nicely in to…

  • Widen your horizons.

Music is a language. Even when playing on your own, you are creating sounds for yourself to hear, effectively taking to yourself. But there’s only so long you can do that before you end up going round in circles, or going crazy!

Set yourself the following challenge for the year: discover a new artist each month of 2017. Learn from what you hear. Take examples of their playing & try to incorporate it into your own. It can only make you a better guitarist! The beauty of this is that you don’t have to focus on other guitar players. In fact, it might be better not to! Many of the jazz & Blues guitarists I admire take inspiration for their improvisational playing from horn players, translating their melodies & ideas into their own instrument. Try it!

It also helps to get out amongst other musicians, jam, join or start a new band, particularly in a new style. It also goes further than this – always wanted to sing while playing? Start! Learning a new instrument? Do it! The best way out of a rut is to climb upwards!

  • Get your music ‘out there’.

…And if you’re meeting new musicians & launching new projects, you’re already doing this. Go to more live gigs, gig more yourself, especially new and original music. I know all too well how easy it is to get stuck in one ‘world’ (in my case playing in a covers band), and finding it hard to do other things, but I promise it’s worth the effort.

Remember to have fun while you’re out there expanding your guitar playing horizons!

Best of luck and wishing you all a very happy new year! Let’s make 2017 – like every year – a great year for music, for the guitar, and for you!

Tim xx

Please do get in touch to tell me what your own guitar/music new year resolutions are, and stay in touch to let me know how you’re getting on with them! Don’t forget I’m here to help if you need it! xx

Seven Nation Army (cover)

My previous blog mentioned a recent recording date with function band Switch. We recorded about three or four tracks for the band’s website, two of which we filmed videos for.

The first video, for ‘Mercy’, you can watch here.

Our cover of ‘Seven Nation Army’ was the second video we recorded that day. As you can tell from the video, we had a bit of fun with this one. It still has quite a few nice shots of my Gold Epiphone Les Paul though…

Guitar wise, this is the LP from the video, using the neck pickup, coil-tapped. The slide is solid brass & it’s going through one of the studio’s Marshall amps (not the Orange stack you see in the video, though that does sound pretty cool).

Thanks to Loft Music Studios for the recording & production of the track, Nemix Studios for the video location and Artifact Media for shooting it! 

Enjoy!

A song for Black Friday: Mercy (cover)

Is it Black Friday? Have mercy…

Tenuous enough of s link for you? Good.

Earlier this year I hit the studio with function band Switch, and this cover of ‘Mercy’ (made famous by Duffy) was one of the tracks we recorded.

The guitar I used was the same one you can see in the video: Fender Modern Player Stratocaster going through one of the in-house Marshall combos at the Loft Studios.

Thanks to Loft Studios, Newcastle upon Tyne, for the recording session & production. Also many thanks to Nemix studios (also Newcastle), which was our location for the video, and to Artifact Media for the film production!

Enjoy!