JUMP BLUES Learn this ex­cit­ing style

This com­bi­na­tion of blues, jazz and west­ern swing is one of the most in­fec­tious styles of all. Learn six full so­los in the style of half a dozen of its fore­most ex­po­nents. Come on, be a hep­cat!

Guitar Techniques - - CONTENTS - Phil Capone

An up-tempo cousin of the blues, jump blues di­rectly pre­ceded the rock and roll ex­plo­sion of the 1950s. Rhyth­mi­cally, the style is closer to rock and roll than jazz with a strong back­beat groove. So, in come Pen­ta­tonic licks and out go the be­bop lines? Well, not ex­actly! There’s more to play­ing jump blues than Mi­nor Pen­ta­tonic noodling, so if you’re look­ing to jazz up your blues play­ing then you’ve come to the right place. Above and be­yond note choices, the key to sound­ing au­then­tic lies in con­trol­ling swing and straight eighth-note phras­ing at swift tem­pos. Here’s a sum­mary of the play­ers we’ll be check­ing out:

Clarence ‘Gate­mouth’ Brown was pro­fi­cient in a wide range of styles in­clud­ing blues, coun­try, jazz and Ca­jun mu­sic. He was a gifted multi-in­stru­men­tal­ist who played guitar, fid­dle, drums, har­mon­ica, and man­dolin. His guitar style was rhyth­mic and fluid with con­trolled phras­ing, and of­ten fea­tured straight eighths over a swing groove. He fre­quently in­ter­spersed his sin­gle-note lines with chord riffs us­ing in­ver­sions on the lower strings.

Duke Ro­bil­lard is a for­mer mem­ber of The Fab­u­lous Thun­der­abirds and co-founder of the swing re­vival big band Room­ful Of Blues. His huge back cat­a­logue of solo work in­cludes trib­ute al­bums for T-Bone Walker and Les Paul. The T-Bone in­flu­ence can be clearly heard in Ro­bil­lard’s style, which features dou­ble-stop phras­ing, mi­nor 3rd and quar­ter-tone bends and im­pec­ca­ble tim­ing.

Ron­nie Earl was also a for­mer mem­ber of the Room­ful Of Blues, but is best known for his work with his own band The Broad­cast­ers. Win­ner of Guitar Player Of The Year three times in the Amer­i­can Blues Mu­sic Awards and a re­spected educator with five years un­der his belt as As­so­ci­ate Pro­fes­sor of Guitar, at Berklee Col­lege of Mu­sic. Ron­nie’s style features jazzy chord riff­ing, flaw­less phras­ing and use of the Mi­nor 6th Pen­ta­tonic scale over the IV chord.

Brian Set­zer is famed for his work dur­ing the early 80s with The Stray Cats. This Grammy Award-win­ning gui­tarist has al­ways been held in high es­teem. Dur­ing the early 90s swing re­vival he formed the Brian Set­zer Or­ches­tra, high­light­ing his skills as a swing and jump blues gui­tarist ex­traor­di­naire. Bri­ans’ style is a tan­ta­lis­ing mix of be-bop licks and rock and roll swag­ger, punc­tu­ated by chord dips and wob­bles cour­tesy of his trade­mark Gretsch’s whammy bar.

Hol­ly­wood Fats’s ca­reer was cut trag­i­cally short by a heroin over­dose at the age of 32. He worked as a side­man with blues leg­ends such as John Lee Hooker, Muddy Wa­ters, Al­bert King, and Jimmy Wither­spoon, but re­leased just one self-ti­tled stu­dio al­bum with his group The Hol­ly­wood Fats Band. He made the old-school style sound new and ex­cit­ing, and his tim­ing was im­mac­u­late. Sin­gle-note lines would of­ten be punc­tu­ated with jazzy chord stabs or in­ter­spersed with boogie-woo­gie style riffs.

Jeff Beck is the only non-Amer­i­can player in our lineup. Beck’s 1993 al­bum Crazy Legs fea­tured a col­lec­tion of Gene Vin­cent songs as a trib­ute to Vin­cent’s own bril­liant gui­tarist, Cliff Gallup of The Blue Caps, who is one of Beck’s big­gest in­flu­ences. Beck was a true in­no­va­tor of elec­tric guitar dur­ing the 60s and 70s; lis­ten­ing to his work from this pe­riod you could be for­given for think­ing that he ig­nored the play­ers that came be­fore him but, like all great pi­o­neer­ing mu­si­cians, he’s also steeped in the his­tory of his in­stru­ment.

the key to sound­ing au­then­tic lies in con­trol­ling Both swing and straight eighth-note phras­ing at swift tem­pos

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.