I'm a tone junkie. Of course technique is important but the tone you get from your fingers and heart onto the fretboard of that vintage Gibson is perfect for this style of jazz and or blues. Great inspiration for new guys like myself with this genre.
Thank you so much buddy. I appreciate that 🙏🏻 The secret is in the picking hand to get that fat, punchy vintage tone. Rest strokes where possible and strong bias towards downstrokes 👍🏻
Wow, fantastic! This is such a great tune. It's just one of many amazing Charlie Christian solos that anyone familiar with Charlie's recordings know very well. There is just nobody like him, in my opinion. He operates on a whole different level. What is even more amazing about his recording and performing career is that it all happened in about 5 or 6 years, and then he was tragically gone at the age of 26. An entire generation of the greatest names in jazz guitar history from Barney Kessel to Wes Montgomery and many others, have all bowed down to his enormous talent and influence.
Absolutely my friend!.. he was an enigma! Played with such confidence, articulation and conviction in every note. So much to learn from his short career 🙏🏻
Alex is truly a gifted teacher helping those of us who aspire to play at a deeper level and - at least for me, newer to jazz guitar - so much packed into each of these episodes - thank you, Alex!
Alex - I love the seemingly plain but totally genius and seminal early jazz guitar style Charlie Christian played... and you are teaching this perfectly well!
Thanks buddy! Yeah totally agree.. there’s something so exciting about Charlie’s playing, the way he drives forward with so much momentum and purpose from note to note. 👌🏻
And I quote: it's all about keeping track of the beat. Staying in the pocket. That is what it's all about another great lessons fun to listen to you play and explain (on its own) as well as learn. Cheers!
Thanks buddy, absolutely! All about being in the pocket and making those notes really land. I’m glad you enjoyed the lesson! I appreciate the comment 🙏🏻
Man, I’m always so impressed by your mastery and deep dives on all my favorite genres and players. I’ll never know how you know so much but I’m immensely grateful you are sharing it all!
Ah thanks so much my friend, what a lovely comment! 🙏🏻 The answer is an obsessive mind and a life dedicated to music 🤪 Not something I’d necessarily wish upon someone else 😂 Thanks for the comment buddy 🙏🏻
I listened to three other guitarists on RU-vid play this number. You played it with more pzass or bounce than they. You have blues and jazz in your soul! tom
I've been playing guitar at least 50 yrs, I've heard many praise CC, some try to tell you all about his playing, but very very few can reproduce his sound , tone , and technique quite like your examples. Thankyou
Thanks, Alex. Great tune, great rendition, great lesson. (And as soon as Louis appeared, the algorithm cut straight to an ad for cat litter. He's earning his keep!)
Excellent live stream new course and interaction this morning, Alex..........hungry kitty and all!! Getting my friend Chris Mullin's attention is a great positive direction for your site as he has quite a few good connections and influence!! Jim C.
@@AlexFarranGuitar It also helps that the styles of jazz that you are playing are styles that I resonate with. I feel like the more modern jazz gets, the less I'm into it. Would love some videos on old 1920's New Orleans stuff
The only one more interested in this lesson is Louie! Thanks much for a another great one. Looking forward to the upcoming Charlie Christian lesson, there's so much to learn from his playing.
The licks are simple in a way since there isn't any long reaches, string skipping etc. I do find playing them up to speed and keeping time is my most difficult challenge. I"m learning it slower first. I'll get it. The way you break things down help alot. :)
Wow indeed!! And tnx so much Alan. I'm a little new to jazz (-blues) but I learned a lot from these chord approaches. I really appreciate the lessons you're sharing. Regards from Belgium.
great lesson. Do you visualise shapes or do you just know all the notes? I have learnt a lot from somebody called Tim Lerch, and you. I like the way you and Tim call out the intervals. He just calls out 3, 5 etc rather than thinking about shapes. And yet I am a very visual person and I like shapes too. Should i learn triad shapes or focus on notes...or both...or caged ...? How do you look at the fretboard, or a better question would be how did you, when learning, look at the fretboard? Hope this makes sense!
That’s a tough question! There’s a bit of everything going on really I think.. like anything, you need to come at it from every possible angle to get a real 3 dimensional awareness and understanding of it. Certainly started thinking more shapes, but anchored off a particular landmark interval.. ie; play this shape off the third of the chord, or play that shape off the fifth of the chord etc. Eventually you do just know where these things are as you get faster at recalling the information. Hard to explain but hopefully that makes some sense!
@@AlexFarranGuitar Thanks for replying. I suppose listening too as your fingers go there semi automatically. Am sure there is a PhD there as the guitar is wonderfully complex in terms of learning strategies. Your playing is beautiful. Thank you
@@akfisher7138 absolutely!.. all of the practice you put in mapping out the fingerboard should be done slowly and clearly as you’re training your ears along the way also. Eventually you’ll hear the sound you’re after and find it immediately. 🙏🏻
You can't go wrong with either, but if you're going vintage, the 125 is much better value for money. Tonally, in my experince, the 125 is a darker, more percussive guitar than the 175 which tends to be a little more bright and resonant.
Simple, sure, although that depends on who you are. But even if they are CC was so d*mn musical, and every line he plays connects to what came before and what will follow. For Jazz, one could almost argue that all you need is CC, Wes Montgomery and Jim Hall.
