Eig Taunt Deca N erent h ll RVers known as playing ‘outside’. Dave Kilminster demonstrates howINSPIRED BY JAZ GUITARISTS Charle Christan, Wes Montgomery and axophonist Charlie Parker, Berson has been a huge success inthe jazz and pop world y began his p al career singing at the age of eth, and {ten uses his wari tenor voice to sing along wath his soles. Arpegaios are ver ommmen in bis playing style, so ve included a couple of them ita typical Bensor style liek, just to start the piece Tuse the term ‘piece’ very loosely of course, as this int supposed to be a piece of rmusle per e, but a demonstrat ne outside ideas that you may wish to borrow ALTHOUGH ESSENTIALLY A BLUES guitarist, Pord is more than capable of jazaing with the b of them. Hes also one of the most tasteful improvisers on any ding up to one mean guilatist. BARS § and 6 see Robben plaving over an imaginaty B7 chord, which works (as pretty much anything does when you're at exactly the right point playing outside!) because it resolves back to Bs minc 12-{i2) esruany 2002 Guar Techies $3,Jazz 0 COOL JAZZ FUSION LICKS THE THUNDER FROM DOWN Under is up next. Best known for his work with Chick Corea's Blektric Band and Vital Information, Frank Gambale isthe undisputed king ofthe sweep picking technique, as well as an excellent guitar teacher His teaching videos are certainly worth looking at if you want to pursue this style. The lie st nice melodic approach, and Ive included one of his tacemark sweep licks in BAAR 5 eu Bu Bu 148 18 1e-C7Nt7 eT) P8417) 1597 @: SOUND ADVICE GETTING A JAZZ TONE | RECORDED THESE EXAMPLES with a Wayne guitarby ‘Wayne Charvel), using either the bridge pickup (a Jeff@ TRACKS 19.2! enn ALTHO ‘ORKED with fellow Aussie John Farnham (remember You Nelson (stop snickering!), it hi aman stun guitar team (alongwith T} Helmerich) that of most interest. quick listen to Quid Pro Quo, "Exerpt’ of thei atest biaarre release, ‘Uncle Moe's Spc Ranch’, will leave you in no doubt that h had an overhaul recent, with out-of-phase single cols replacing the standard humbucker approach... Also, Brett wouldve played the arpegso in BAR 1 with a pick and three fingers (ike Shawn Lane), mther than Gammbale-sweep style 1 GARSED HAS and AOR work i the two 4 phenomenal player. Brett sound has ws te I == * * ei = —= o = aaa H + | a i 3 7 7 : s ; fe o10-1 10-10Jazz 10 COOL JAZZ FUSION LICKS : 12151512 ——t re 5 = 48 ® eS YORKSHIKEMAN HOLDSWORTH DOESN'T so much have his own stsle as hus own branch of music. He possesses arguably the best legato technique on the planet and ‘chord vocabulary that i totally unique. wn to-use the odd soni spe! from time to time — je physica! fngering patterns that work well on the neck especially when played at ridiculous speeits) ~ so Ive tried to reflect that in the chosen ks below ess. 12 10=19= 1410-19 —- 1019-141 1% 19-19-1613 — 16-13Jazz 10 COOL JAZZ FUSION LICKS —r Tenia i it ate, 4 1615-14 A716: ANOTHER UNIQUE /OICE IN the Jazz guitar world is that of John Seofield, Not only 1s he possess his own sound, but his own sense of timing too — he iso lad back Scofield uses a lot of wide intervallic phrases and neat chromates to great effect and hopefully, I've successfully demonstrated that in the lines provided. He's played swith some of the greats ~ Miles Davis, Charles Mingus, Gary Burton ete ~ but my favornte work of his would have to be his Blue Matter period, featuring the heaviest funk drummer in Fusion, Dennis Chamb 101910 — oo 12—14— 12-40 '58 Guitar Techniques FEBRUARY 2003@ TRACKS | 9-2) rm PRISE OUR FINAL ENTRY — and lit s nudied at W191 12-10-10-14-12-109 a at 940 42 12104120 129-129 12-8 206) 2 10 @PROTIP TALWAYS SAY PLAY THE ‘need to playthrough them slowly at frst. as there are some pretty tricky fingerings in there ~ cexpecilly if you want to get ‘them up to the track speed of 141 bpm. FEBRUARY 2003 Gitar Totes $9