Master Working Guitarist Jack Wilkins explains his learning process using the standards!5
Jack Wilkins is one of the most admired guitarists in NYC. He's "the guitarist all the other guitarists go to see". He's played with Buddy Rich, Chet Baker, Bill Evans and many others. In this video he gives a very generous breakdown of how he approaches practicing, how to develop fingerboard knowledge, and how to learn and develop an approach to playing common standards...and he performs many examples. To have an top working musician provide the "real work" regarding jazz guitar should be of high interest to anyone who is serious. True, the video technology is a bit dated, but the tips he shares more than makes up for that.
Randy always gives a well thought out and logical presentation in easy to digest chunks of information. I was especially impressed by this course. This is certainly one of the best presentations on a soloing concept I have heard in a long time. A great practice tool, and I'll be practicing this concept everyday. I can see where it forces one to learn the neck and helps to create a cohesive solo. Highly recommended.
Another home run Randy!! I started watching it yesterday and Could not put down my guitar. This Is by far The most effective Exercise and way to practice I have ever heard of!
This is the "Secret" I have been looking for To make my solos Sound good.
This is going to be My Go-To Method of practicing every jazz standard that I am working on........
Thanks so much for sharing this valuable concept With us !!!!
This class was so easily assimilated and Paul explains the material clearly. I was familiar with all the chord shapes but Paul goes over the applications, substitutions and I was able to use them immediately in my playing. I would say this class is pretty much essential. I also would highly recommend Paul's recordings as I downloaded many of them on iTunes after watching this class and I am now a big fan of his playing! 5 stars! Can't wait to get the others as well!
All of Tom's courses are fantastically thorough; all the information is laid out logically, with plenty of examples given so the music can be heard, not just read. His library, including the advanced harmony course is amazing in that it sets you up for a lifetime of exploration. He knows how the interaction between jazz as a common practice and academic harmony and rhythm works; his insights are completely functional. Thanks Tom...
Tom is one of the best guitar teacher and awesome jazz guitar player that i encountered. His ideas are superb and crystal clear, all my gaps in my playing are being filled. I highly recommend all his lessons.
Phenomenal lesson....... Randy Plays A few different chord melodies. He also plays several different Full Chorus Single line solos! He goes over Key centered Approaches For the newer player And also Other scale choices For the More Advanced players.........There is also a fantastic segment on How-to solo over a minor 251 By simplifying everything Using minorization and tetra chord Concepts. There is much much more also! Like all of Randy's lessons, They are like multiple lessons In one. He also discusses The necessary theory And harmony For a difficult tune (Stella)
In my view All of Randy's lessons are by far The best bang for the buck on the entire Internet. He gives Great stuff To get into are playing and Take it and use it At the next gig For jam session Or whatever.........
I look forward To many more Lessons On Jazz standards Like This one!
Ray King
I added Phil Robson’s Harmonic Rhythm to my playlist because I was looking for other approaches for improvising and comping to complement what I am already doing.
Harmonic Rhythm details the techniques of playing chord changes (ii-V-I-VI) in advance (anticipation) or behind (delay) of where they are written. Also, important is Phil’s discussion on phrase placement in relation to the beat and bar-line as a way of making some phrases standout from the rest in your improvisation and/or connect your melodic fragments to one another. Phil talks about how to change the feel of any phrase by setting it to different parts of bar. I am also using his methods (note placement and note duration) to embellish the written melody of a tune.
There may be some instructional material out there that mentions this approach, but Phil’s workshop goes into a detailed step-by-step approach to retraining your hearing to hear an idea in motion towards future rhythmic and harmonic resolution targets. But at the end of the day, what Phil offers in this lesson is another process/method of creating single-note and chord motion across the bar-line (to create tension and release within a phrases). The ultimate goal for me is to be able to play anything anywhere; and create rhythmic and melodic freedom during my solos and comping. Phil’s lesson gets me one step closer to this destination. Thanks Phil,
Guy
