One more thing to add to this solo analysis - harmonically, melodically and timbrally I always felt it's influenced by the choices Chick Corea would make, especially in the tune Song to the Pharoah Kings. Snarky Puppy is basically millennial Return to Forever with more horns. Great video!
Couldn't agree more about Chick Corea's influence on this. I think there's some influence from Chick's comping while Scott Henderson solos on Silver Temple (Chick Corea Elektrik Band) especially near the end of Cory's solo.
“What do you want to be when you get big?” “I’m gonna eat my food!” Already thinking like a true jazz musician. Mainly focused on just making it to his next meal.
This guy Cory Henry kind of just got out the gate and people already trying to steal his stuff! That's the way it's always been. You music thieves with no real originality, rhythm or talent! Always stealing music from black people. Just like you stole rockin roll, jazz, blues etc. You study, finagle, plot, and copy everything to steal from people you don't want to live next door to or even sit next to on the bus! Just because you want to feel superior! But in reality, black people are the greatest humans to ever walk the earth! Despite the horrific things done to blacks in slavery, and how they are mistreated, criminalized, disinfranchised, purposely miseducated they have excelled and surpassed everything that they have been allowed to participate and compete in! And although blacks are being forced out of urban cities with excuse being gentrification! They are waking up! We near the end of 400 years!
That freeze frame of Corey's face right around 1:36! That's my favorite face ever made by any human being anywhere, ever. I was so psyched to see that you froze that face. So worthy of it.
I actually think that might be a signal to the band. You'll notice he makes the face as he's approaching the climax of the solo - it could be an agreed signal meaning "ok guys this is it, I'm hitting the peak at the end of this cycle of chords, which means we're going to do one more 8-bar cycle after this and then end the solo section". Notice how on-cue they are for that final unison clave right before the horns come in. There definitely was a plan here. Usually this would be a nod or verbal cue, but here the vibe is so hype that it takes the form of the most intense :D face ever lol
Thoroughly enjoyed your analysis. I majored in Jazz Theory and Composition, and have transcribed many solos too, and followed them up with the analysis, and you nailed the details. a simpler way to break it down is just the standard jazz improvisation technique known as "inside|outside" for the purpose of tension|release The E minor/pentatonic/blues material is the inside, so it can start or finish the phrase in a cozy or familiar way that eases the tension every other technique is just his way of going outside to create tension, before releasing the tension with another inside scale. It almost doesn't matter if the outside is quartal, chromatic, phrygian, diminished or whatever, it's there for tension, so he can just endlessly toy with our emotions by how long he stays outside versus how often he lets us off the rollercoaster to go back inside. The structural stuff is there to build energy, and golden mean proportions tell us about 2/3 is where you want to peak, then you descend back to the normal flow and it seems like you performed a magic trick, but its all premeditated at the macro level. His technique is so virtuosic, that he can zoom out, read the crowd, and hype them up, scare them, and then delight them at will with his choices of when to change up the structure. Chick Corea does tons of this with Minimoog solos across his career. I do however love this particular solo. My favorite part is how the other keyboardist is both loving it, and dismayed simultaneously in his reactions. I understand and concur.
"My favorite part is how the other keyboardist is both loving it, and dismayed simultaneously in his reactions." - Sometimes amazing art makes me a little mad and sad at the same time, because it's like watching someone else reach a plane I know I can only hear about. I'm thankful to listen, but I know I'll never get to see it myself.
Wow, amazing! Definitely another new tool in my musical arsenal, really. Thank you very much for this analysis man; it helped a young music developer his arrangement and improvisation skills, hehe~
Lingus was one day randomly recommended to me by youtube and, after listening to two other tracks, I just had to buy the album. This is one of the rare occassions that I have to thank the youtube algorithm!
After much listening of their music I think I have to say that album might be Snarky Puppy's best work and Lingus is the song that puts it over the top for me.
I clicked so damn fast. I love the respect you give jazz musicians. A lot of us have chips on our shoulders from the blatant disrespect we’ve received from the classical world.
Wow he was literally a child prodigy, very cool! I think Larnell Lewis was playing Drums from a similar age. I'd imagine most of Snarky Puppy were very capable musicians by the time they hit double digits in age. Massive props
Love this analysis. I like that you mention some of the pre-explored and semi composed passages in the solo. I was in the audience for this recording and he had been working on this solo over the course of the session taking some of the best bits. When it all came together you could see how happy he was.
You were there when he did this??? I can't tell you how jealous I am LOL 😍 brilliant. I'm just glad it was captured so well and is available to anyone who wants to hear it.
Awesome! More of these types of videos! I think the de-mystifying of the playing of masters prevents people from going "welp....I'll never be able to do that." Good stuff my dude.
Thank you for analyzing this piece. I love Snarky Puppy, too, so that made it all the more enjoyable. Also, I think Cory summed up the true aspirations of all musicians when he answered the question about what he wanted when he grew up; 'I want to eat my food'; yep! we all just want to eat. Love it!
See, the real trick is in the beginning when he looks up all dreamy. That's when the lord came down just for him to show him some sheet music he was working on. Kidding aside, the fact that he was able to pull something like this of with so much passion is great! The only one that could explain the madness is a calm British man :)
i was intending to transcribe and analyze that solo (mostly for that block chords thing) but i kept postponing it for weeks, due to laziness... I would rather watch my favorite RUclipsrs than doing some serious work on my own. Than, one day, just like that, this video showed up and solved that for me. It's a win-win... So, thank you dearly.
David that was EXCELLENT. You took what was obviously very beautiful and artistic and explained it very thoroughly. I am a jazz pianist/private educator/arranger. When I 1st heard that solo it blew me away. I literally just took it for what it was and could barely comprehend anything about it. I only knew in fact that I loved it. I've learned in college that if it sounds good, that there is always hard theory underneath to support the sound. I just didn't have much of a clue until watching your EXCELLENT video. I'm 64 years of age and originally a voice major when I was much younger. Went back to college in my 40's and majored in Jazz piano performance so I'm relatively new. Whenever I'm teaching I always tell my students there are 3 stages to learning a concept, lick, solo, song, progression, etc. 1. I don't know what you're doing and I can't do it. 2. I know what you're doing, but I can't do it. 3. I know what you're doing and I can do it. Thanks to you, I'm now closer to stage 2, whereas though I loved what I was hearing before, I was certainly at stage 1. Thank you. You have a new subscriber and a thumbs up from me for sure. Peace to you.
I love that you don't just explain what is going on but why. The structure, the principles and the stacked 3rds and 4ths and where the phrases come from - Peterson, Hancock, Corea - the modal feels, the chromatic movement. Also how he's clearly taken phrases and chunks of harmony and notes he's clearly worked out before and pulls them in to such great effect. Thank you for your analysis.
I got into RUclips some years ago. I liked jazz and funk etc but hadn't listend to much for a while. As time went on I explored the music I liked and the bands that I saw in my 20s. I remember looking for a bassist called Dil Katz who was in every second band I saw in the 80/90s. Scotts Bass Lessons appereared in my feed, this led to Adam Neely and Rick Beato and then to Michael League and thence to Snarky Puppy. Sometimes the algorithm does GOOD STUFF!
Wow, this was so much helpful jazz knowledge for a lazy pianist like me. Already knew about the quart chords but have to try these block chords in the maj bebop scale. Thank you a lot David!
Really interesting analysis, thanks. One thing though is you missed to incorporate the gospel background of Henry in your analysis, the core of his sense of harmony. This is where a standard jazz approach cannot find proper convenient explanation. All the intro section is a good demonstration of the gospel harmonic thinking. And it is very interesting. Look for "gospel reharm" and "walkups", these musicians can do very amazing things.
You have this child-like and joyous approach to music as well as (it goes without saying) a deep understanding of theory and your videos are always refreshing, keep up the great work.
Another thing I noticed is that the notes DGAB, often replacing D with E, seems to be an important motif that he comes back to frequently. It's in the top voice of the very first thing he plays, and he often plays them at significant places like around the turnaround. He also gives that big excited smile when he plays it at 7:55 in the original. Timestamps below are all referencing the original video. DGAB 4:23 GABD 4:41 BAGE 4:59 BAGE 6:03 DGAB 6:17 BAGE 6:19 BAGD 7:55 BAGE 8:11
This is one of the great keyboard solos in the history of jazz if you ask me. I can only listen to it every few months - too devastatingly amazing... Fun to hear it "explained" but it does go well beyond a logical dissection:) Love it.
You know what a brilliant piece of music this is ,when people who are technically wise to what he was doing and then the people who have no idea what he did technically 🤔, we just know it sounds freaking awesome and we Love it!!🙂👍
how damn singable the whole thing is is also important to note, i remember every note of this incredibly complex solo, not because i have a good memory, but because its so memorable
Our Hats off..That's the right way to learn to love music.When structure detail, harmony are showed in this way in the other hand you could just only be attracted and motived to understand how it is done. Simply GREAT !!
This is really a well stated and fantastic technical explanation of Henry's playing. I've been mesmerized by the incredible musicianship he provides for this piece, and it's wonderful to see/hear it dissected into such root formulations. Well done, sir. Well done!
Was just waiting for one of you youtube music nerds to analysis this solo, and this song. I've been psyched about this song and that solo for months! Even played it on a music quiz. Nobody got it!
Hi David, It's really interesting to see your take on something from the jazz idiom. For me the conceived difference between jazz and classical traditions lies in the different ecological interactions through which creativity is defined (a different set of conditions and expectations). Cory talks of not thinking of anything when he improvises - achieving a neutral state of mind - yet this is impossible, his improvisational response will inevitably be a product of and draw upon the combined influences of his past musical experiences, and react to the musical interplay of the band occurring in the moment. A good improvisation will combine both of these approaches. It is an interesting question to ask where individual expression and sponteneity is left after all this? Improvisation proves dialectic in the sense that its success is often defined by its freedom from any set of preconceived rules and restrictions, yet in reality a sense of inevitability of one phrase flowing into the next is just as vital. Clarke, Doffman and Lim's article 'Distributed Creativity and Ecological Dynamics: A case study of Liza Lim’s ‘Tongue of the Invisible’ makes some interesting points about this. Different notions of creativity, and the idea of music as process and not object are both really important themes to understand in order to understand the mechanism behind this music. Kenny Wheeler's music has a particularly organic sense of flow through improvisation that would be interesting to explore further with these concepts.
A point well observed. Francis Noel-Thomas makes a similar observation in "Clear and Simple as the Truth" regarding the tension between apparent spontaneity, apparent inevitability, and the abstract understanding we have that the performance is a distillation of prior experience, though in regards to writing. I am going to look into the article you described, as well as Kenny Wheeler's music thanks to your pointing them out. Cheers.
One thing that alot of people forget about jazz, given that it is often studied at some academic level now, is that it is traditionally a dance music. Alot of people brush past this as it's not super relevant to more contemporary jazz. Swing bands would play for people to dance to, even jazz's origin, ragtime and 2nd line music was meant for dancing. Alot of jazz musicians talk about improvising as a conversation. Simultaneously listening and playing with each other. Also Kenny Wheeler's big band album is one of my favorites
"Cory talks of not thinking of anything when he improvises - achieving a neutral state of mind - yet this is impossible," Why do you say impossible? You offer no proof. Just because he maybe drawing from previous experience and conditioning doesn't mean any of that is happening on the conscious level. Keith Jarrett talks about "jumping" which is a point in his solos where he ceases to exert conscious control. McCoy Tyner was quoted as saying he doesn't consciously dictate where the notes in his solos will go- he trusts his instinct that they will be correct. So why do you not believe the actual high-level practitioners of the art in favor of some non-practicing scholars? Not trying to troll- I'm genuinely curious.
Grandmaster Blowhole I guess this boils down to whether you think that humans can do something completely spontaneously and randomly, can we ever make a creative choice that is beyond our own conciousness? I personally think not, but I appreciate that this more of a philisophical rather than exclusively musical question, and one that is relavant here and very tricky to arrive at an absolute conclusion with. Thanks for your insight!
@@lukeriedlinger6192 Well I do appreciate your honesty- these things for the moment at least, unknowable and remain philosophical intil science learns more. It seems logical that creativity has to come from somewhere but that source is elusive and still a bit mysterious.. As an improvisor and as a teacher of improvisation myself, subjectively speaking, it seems to me that the less I try to "do" or "control", the better my solos tend to be and I teach my students almost exactly the same doctrine espoused by Henry- practice intensely and mindfully but perform almost as if someone else is doing the playing. Thanks for engaging in this discussion.
Is this especially for me David, my favourite band of all time you know, I hope Cory keeps playing with them! The technical stuff is way beyond me but I like the idea that when he is performing he is in the moment... the homework was done beforehand. All the best D
Thanks for the shot of Cory playing at 4 years old. Reminded me of Amadeus. I would have to guess his technique has much to do with being a prodigy and playing constantly. Also as you say building into his brain and muscle memory a catalog of what be enjoys and finally having a great ear and friends to play with.
Solid analysis of an instant classic. I love the visual cues within the score as well as not overly explaining the theory - enough to grasp the concept, but leaving enough there for the student to wander through. Great approach.
Dude you crushed that analysis. I've got some synth solos that I don't know WHERE they came from, lol. The best thing for any solo is structure and building energy, not the number of chops and chords. Outside chords only work with good voice leading, like follow a melody or its nonsense. I'm just glad so many people are watching videos about jazz improvisation :)
Thank you so much. Very enlightening! Now I know a bit better why I was overwhelmed after first listening to Lingus, and particularly Cory Henry’s solo. And I am still bedazzled every time I listen to it.
Thanks David, thanks so much. Awesome analysis. I too am a jazz pianist. I've known for a long time in a general sense as most jazz musicians do that if some thing sounds good/cool there is always underlying theory within in it. With that blazing solo of Cory' s though I only knew this in a most general sense. But now, thanks to you I now understand more about his solo in a specific sense. As a private music educator myself that means quite a lot to me. thanks again, and extremely well done.
This video is incredible. It's amazing not only to see a very well-done transcription of this rollercoaster of a solo, but also explanations on how it "worked." Thank you David!
I think those opening chords are a great example of the Jacobean principle that as long as you’ve got a strong melody on top, and good voice leading in the middle, you can basically harmonize with whatever notes you want.
Right! Cory has a unique playing style, or IS IT?? I've listened to this dozens of times, because it brings out every emotion I muster. YES !!! I hear strong influences of every great modern jazz keyboardist wrapped up in this solo. There's fusion, classical, soul, gospel, even show tunes! It's all happening here. But I feel like I've heard some of these licks before. Some of these signatures, chords, runs, arpeggios, and sequences I feel like I've heard before in other amazing songs. Maybe, as this master is playing, he's channeling all "The Greats" you speak of. On any Snarky Puppy song- When Cory is let loose... LOOK OUT! There's brilliance in progress.
This video is excellent! You have a real knack for knowing which information is important to the essence of a piece of music, and that comes through in this superb breakdown of a solo that leaves a lot of people (me included) a little dumbfounded on where to begin understanding it. Loved this style of video, going through a specific piece of music and talking about what makes it tick, and I would definitely want to see more of this kind of thing from you on any music you find fascinating!
Wow Just learning Piano and CH inspired me to keep practising. I am going to have to watch this video many times to get all the good info out of it ... cheers for the knowledge !!!
One thing to add - I think the biggest thing that people miss is that he's not playing over chords, he's playing over a single bass note all the time, you can basically play anything over a single pitch as long as you have an idea of the color you are going for and have a direction for it
I’m working on learning this solo currently but not on a piano, and can’t play the full chords. This is amazing stuff, and helps fill in gaps for me! Thank you so much!!!
Allan Holdsworth, pretty much anything. I’m fairly sure history will view him as up there as one of the most important musicians, but sadly the world hasn’t caught up to where he was at yet!
Thank you very much. This video is also kind of historic in it's own way. I feel much more in contact with the solo now. And I think a lot more rational about it now. Thank you, David.
You should take a look at the live version of And the Melody Still Lingers On by Chaka Khan. This version has the Brecker Brothers playing the trumpet and tenor sax parts, which are pretty interesting, but there are also some crazy keyboard licks and solos that would be worth checking out as well.
One more thing to add to this solo analysis - harmonically, melodically and timbrally I always felt it's influenced by the choices Chick Corea would make, especially in the tune Song to the Pharoah Kings. Snarky Puppy is basically millennial Return to Forever with more horns.
Great video!
Adam Neely NEELYYYYY
OMG. You are so right. 😂
What about BASS?!
Return to Forever with more horns and the funk feel of The Headhunters!
Couldn't agree more about Chick Corea's influence on this. I think there's some influence from Chick's comping while Scott Henderson solos on Silver Temple (Chick Corea Elektrik Band) especially near the end of Cory's solo.
Lol, that moment when you're watching a youtube video and your own comment from two years ago is quoted at the end! Great video David!
Look, everyone! It's RUclips commentator CP25!
Kyle Stoner I’m having mugs and t-shirts made as we speak.
“What do you want to be when you get big?”
“I’m gonna eat my food!”
Already thinking like a true jazz musician. Mainly focused on just making it to his next meal.
lmao why doesn't this have more likes
is no one gonna talk about that cute clip at the end? Cory’s really eating his food now ❤️
Not just his, but ours too!
Hahahahhaa
This guy Cory Henry kind of just got out the gate and people already trying to steal his stuff! That's the way it's always been. You music thieves with no real originality, rhythm or talent! Always stealing music from black people. Just like you stole rockin roll, jazz, blues etc. You study, finagle, plot, and copy everything to steal from people you don't want to live next door to or even sit next to on the bus! Just because you want to feel superior! But in reality, black people are the greatest humans to ever walk the earth! Despite the horrific things done to blacks in slavery, and how they are mistreated, criminalized, disinfranchised, purposely miseducated they have excelled and surpassed everything that they have been allowed to participate and compete in! And although blacks are being forced out of urban cities with excuse being gentrification! They are waking up! We near the end of 400 years!
@@shirley9529 check out the video David has one 1 theme with 5 composers.
@@shirley9529 this isn't racist at all
That freeze frame of Corey's face right around 1:36! That's my favorite face ever made by any human being anywhere, ever. I was so psyched to see that you froze that face. So worthy of it.
He looks so happy
I actually think that might be a signal to the band. You'll notice he makes the face as he's approaching the climax of the solo - it could be an agreed signal meaning "ok guys this is it, I'm hitting the peak at the end of this cycle of chords, which means we're going to do one more 8-bar cycle after this and then end the solo section". Notice how on-cue they are for that final unison clave right before the horns come in. There definitely was a plan here. Usually this would be a nod or verbal cue, but here the vibe is so hype that it takes the form of the most intense :D face ever lol
Two years ago i attend to a Q&A with Cory and he said that this wasnt his favorite take of lingus solo (of other 3 takes), imagine that!
*was?
@@ten_centsthe final solo isnt the one that he liked.
@@bdillamusic._ oh.
11:19 THE _L I C C_
_wait, wrong channel_
We need to contain the infestation.
there is no wrong channel for the licc
BASS
Repitition Legitimizes
Nealy commented here too :eyes:
Watching little 4 year old Cory playing makes me believe that God put music in this man. His soul just shines through those keys.
I am pretty sure god does not like jazz, if god exists. It requires thinking.
@@zawiszaczarnysulima3700 ???
This is one of the most important videos of our times.
I know everyone has their own “requests” of video topics, so here’s mine: Whatever you find interesting at a given moment.
I second that request and will add: the further away from the obvious the better
Thoroughly enjoyed your analysis. I majored in Jazz Theory and Composition, and have transcribed many solos too, and followed them up with the analysis, and you nailed the details.
a simpler way to break it down is just the standard jazz improvisation technique known as "inside|outside" for the purpose of tension|release
The E minor/pentatonic/blues material is the inside, so it can start or finish the phrase in a cozy or familiar way that eases the tension
every other technique is just his way of going outside to create tension, before releasing the tension with another inside scale.
It almost doesn't matter if the outside is quartal, chromatic, phrygian, diminished or whatever, it's there for tension, so he can just endlessly toy with our emotions by how long he stays outside versus how often he lets us off the rollercoaster to go back inside.
The structural stuff is there to build energy, and golden mean proportions tell us about 2/3 is where you want to peak, then you descend back to the normal flow and it seems like you performed a magic trick, but its all premeditated at the macro level. His technique is so virtuosic, that he can zoom out, read the crowd, and hype them up, scare them, and then delight them at will with his choices of when to change up the structure.
Chick Corea does tons of this with Minimoog solos across his career. I do however love this particular solo. My favorite part is how the other keyboardist is both loving it, and dismayed simultaneously in his reactions. I understand and concur.
Wow. This is a great analysis, thanks!!
thanks for this, it really helps us laymen and explains how it can invoke certain emotions.
First time I've heard of inside outside and really feel I grokked it from this comment. Thanks!
"My favorite part is how the other keyboardist is both loving it, and dismayed simultaneously in his reactions." - Sometimes amazing art makes me a little mad and sad at the same time, because it's like watching someone else reach a plane I know I can only hear about. I'm thankful to listen, but I know I'll never get to see it myself.
Wow, amazing! Definitely another new tool in my musical arsenal, really. Thank you very much for this analysis man; it helped a young music developer his arrangement and improvisation skills, hehe~
Amazing video, thank you!!! 😊
Hey, Nahre!
OMG!!!
Lingus was one day randomly recommended to me by youtube and, after listening to two other tracks, I just had to buy the album.
This is one of the rare occassions that I have to thank the youtube algorithm!
After much listening of their music I think I have to say that album might be Snarky Puppy's best work and Lingus is the song that puts it over the top for me.
What were the other two tracks?
@@mrcooper7027 Probably Outlier and either What About Me? or Sleeper
The drumming on this piece is outstanding as well. I love Lingus😋
This is the song that made me fall in love with Snarky Puppy
I love how this is going down in history as the solo of a whole generation of musicians (not just keyboard players).
I clicked so damn fast. I love the respect you give jazz musicians. A lot of us have chips on our shoulders from the blatant disrespect we’ve received from the classical world.
Wow he was literally a child prodigy, very cool! I think Larnell Lewis was playing Drums from a similar age. I'd imagine most of Snarky Puppy were very capable musicians by the time they hit double digits in age. Massive props
I’m sorry. But mini Cory Henry is so friggen adorable I can’t believe it
Love this analysis. I like that you mention some of the pre-explored and semi composed passages in the solo. I was in the audience for this recording and he had been working on this solo over the course of the session taking some of the best bits. When it all came together you could see how happy he was.
genius (near genius? does it matter?) slightly more demystified. Thank you.
You were there when he did this??? I can't tell you how jealous I am LOL 😍 brilliant. I'm just glad it was captured so well and is available to anyone who wants to hear it.
Awesome! More of these types of videos! I think the de-mystifying of the playing of masters prevents people from going "welp....I'll never be able to do that." Good stuff my dude.
Those “sliding chromatic chords” are used by gospel musicians every Sunday at church lol
Bruh why... where are those churches near me???!?!
really every single day...i do those in my daily practice because most of our songs are structured that way
Thank you for analyzing this piece. I love Snarky Puppy, too, so that made it all the more enjoyable. Also, I think Cory summed up the true aspirations of all musicians when he answered the question about what he wanted when he grew up; 'I want to eat my food'; yep! we all just want to eat. Love it!
See, the real trick is in the beginning when he looks up all dreamy. That's when the lord came down just for him to show him some sheet music he was working on.
Kidding aside, the fact that he was able to pull something like this of with so much passion is great! The only one that could explain the madness is a calm British man :)
i was intending to transcribe and analyze that solo (mostly for that block chords thing) but i kept postponing it for weeks, due to laziness... I would rather watch my favorite RUclipsrs than doing some serious work on my own. Than, one day, just like that, this video showed up and solved that for me. It's a win-win... So, thank you dearly.
David that was EXCELLENT. You took what was obviously very beautiful and artistic and explained it very thoroughly. I am a jazz pianist/private educator/arranger. When I 1st heard that solo it blew me away. I literally just took it for what it was and could barely comprehend anything about it. I only knew in fact that I loved it. I've learned in college that if it sounds good, that there is always hard theory underneath to support the sound. I just didn't have much of a clue until watching your EXCELLENT video. I'm 64 years of age and originally a voice major when I was much younger. Went back to college in my 40's and majored in Jazz piano performance so I'm relatively new. Whenever I'm teaching I always tell my students there are 3 stages to learning a concept, lick, solo, song, progression, etc. 1. I don't know what you're doing and I can't do it. 2. I know what you're doing, but I can't do it. 3. I know what you're doing and I can do it. Thanks to you, I'm now closer to stage 2, whereas though I loved what I was hearing before, I was certainly at stage 1. Thank you. You have a new subscriber and a thumbs up from me for sure. Peace to you.
Fantastic idea for a video and masterfully executed 🙏🎹👍🏻
I love that you don't just explain what is going on but why. The structure, the principles and the stacked 3rds and 4ths and where the phrases come from - Peterson, Hancock, Corea - the modal feels, the chromatic movement. Also how he's clearly taken phrases and chunks of harmony and notes he's clearly worked out before and pulls them in to such great effect. Thank you for your analysis.
I got into RUclips some years ago. I liked jazz and funk etc but hadn't listend to much for a while. As time went on I explored the music I liked and the bands that I saw in my 20s. I remember looking for a bassist called Dil Katz who was in every second band I saw in the 80/90s. Scotts Bass Lessons appereared in my feed, this led to Adam Neely and Rick Beato and then to Michael League and thence to Snarky Puppy. Sometimes the algorithm does GOOD STUFF!
This is the only video I've watched that actually gives a reasonable explanation to this solo and his approach to improvising. Thank so much.
Wow, this was so much helpful jazz knowledge for a lazy pianist like me. Already knew about the quart chords but have to try these block chords in the maj bebop scale. Thank you a lot David!
check out Barry Harris on YT, lots of good information on this topic :)
Really interesting analysis, thanks. One thing though is you missed to incorporate the gospel background of Henry in your analysis, the core of his sense of harmony. This is where a standard jazz approach cannot find proper convenient explanation. All the intro section is a good demonstration of the gospel harmonic thinking. And it is very interesting. Look for "gospel reharm" and "walkups", these musicians can do very amazing things.
You have this child-like and joyous approach to music as well as (it goes without saying) a deep understanding of theory and your videos are always refreshing, keep up the great work.
Another thing I noticed is that the notes DGAB, often replacing D with E, seems to be an important motif that he comes back to frequently. It's in the top voice of the very first thing he plays, and he often plays them at significant places like around the turnaround. He also gives that big excited smile when he plays it at 7:55 in the original. Timestamps below are all referencing the original video.
DGAB 4:23
GABD 4:41
BAGE 4:59
BAGE 6:03
DGAB 6:17
BAGE 6:19
BAGD 7:55
BAGE 8:11
This is one of the great keyboard solos in the history of jazz if you ask me. I can only listen to it every few months - too devastatingly amazing... Fun to hear it "explained" but it does go well beyond a logical dissection:) Love it.
This solo is a landmark....I have held it in awe since my first(of many!) listens! Not to mention the solo sound used on the Korg!
You know what a brilliant piece of music this is ,when people who are technically wise to what he was doing and then the people who have no idea what he did technically 🤔, we just know it sounds freaking awesome and we Love it!!🙂👍
how damn singable the whole thing is is also important to note, i remember every note of this incredibly complex solo, not because i have a good memory, but because its so memorable
Your explanation of the chromatic chordal movement in Cory's solo was so illuminating. Thank you so much for breaking that down!
Our Hats off..That's the right way to learn to love music.When structure detail, harmony are showed in this way in the other hand you could just only be attracted and motived to understand how it is done. Simply GREAT !!
I don’t know if he’ll ever top this moment. Magic moment.
This is really a well stated and fantastic technical explanation of Henry's playing. I've been mesmerized by the incredible musicianship he provides for this piece, and it's wonderful to see/hear it dissected into such root formulations. Well done, sir. Well done!
Was just waiting for one of you youtube music nerds to analysis this solo, and this song. I've been psyched about this song and that solo for months! Even played it on a music quiz. Nobody got it!
Hi David, It's really interesting to see your take on something from the jazz idiom. For me the conceived difference between jazz and classical traditions lies in the different ecological interactions through which creativity is defined (a different set of conditions and expectations). Cory talks of not thinking of anything when he improvises - achieving a neutral state of mind - yet this is impossible, his improvisational response will inevitably be a product of and draw upon the combined influences of his past musical experiences, and react to the musical interplay of the band occurring in the moment. A good improvisation will combine both of these approaches. It is an interesting question to ask where individual expression and sponteneity is left after all this? Improvisation proves dialectic in the sense that its success is often defined by its freedom from any set of preconceived rules and restrictions, yet in reality a sense of inevitability of one phrase flowing into the next is just as vital. Clarke, Doffman and Lim's article 'Distributed Creativity and Ecological Dynamics: A case study of Liza Lim’s ‘Tongue of the Invisible’ makes some interesting points about this. Different notions of creativity, and the idea of music as process and not object are both really important themes to understand in order to understand the mechanism behind this music. Kenny Wheeler's music has a particularly organic sense of flow through improvisation that would be interesting to explore further with these concepts.
A point well observed. Francis Noel-Thomas makes a similar observation in "Clear and Simple as the Truth" regarding the tension between apparent spontaneity, apparent inevitability, and the abstract understanding we have that the performance is a distillation of prior experience, though in regards to writing. I am going to look into the article you described, as well as Kenny Wheeler's music thanks to your pointing them out. Cheers.
One thing that alot of people forget about jazz, given that it is often studied at some academic level now, is that it is traditionally a dance music. Alot of people brush past this as it's not super relevant to more contemporary jazz. Swing bands would play for people to dance to, even jazz's origin, ragtime and 2nd line music was meant for dancing. Alot of jazz musicians talk about improvising as a conversation. Simultaneously listening and playing with each other. Also Kenny Wheeler's big band album is one of my favorites
"Cory talks of not thinking of anything when he improvises - achieving a neutral state of mind - yet this is impossible," Why do you say impossible? You offer no proof. Just because he maybe drawing from previous experience and conditioning doesn't mean any of that is happening on the conscious level. Keith Jarrett talks about "jumping" which is a point in his solos where he ceases to exert conscious control. McCoy Tyner was quoted as saying he doesn't consciously dictate where the notes in his solos will go- he trusts his instinct that they will be correct. So why do you not believe the actual high-level practitioners of the art in favor of some non-practicing scholars? Not trying to troll- I'm genuinely curious.
Grandmaster Blowhole I guess this boils down to whether you think that humans can do something completely spontaneously and randomly, can we ever make a creative choice that is beyond our own conciousness? I personally think not, but I appreciate that this more of a philisophical rather than exclusively musical question, and one that is relavant here and very tricky to arrive at an absolute conclusion with. Thanks for your insight!
@@lukeriedlinger6192 Well I do appreciate your honesty- these things for the moment at least, unknowable and remain philosophical intil science learns more. It seems logical that creativity has to come from somewhere but that source is elusive and still a bit mysterious.. As an improvisor and as a teacher of improvisation myself, subjectively speaking, it seems to me that the less I try to "do" or "control", the better my solos tend to be and I teach my students almost exactly the same doctrine espoused by Henry- practice intensely and mindfully but perform almost as if someone else is doing the playing. Thanks for engaging in this discussion.
I remember my general music teacher and the jazz director showing my class Lingus, I loved it from the very beginning, and this was 7 yeas ago!
*CAN'T BELIEVE YOU MADE A VIDEO ON SNARKY PUPPY. MORE SNARKY PUPPY PLEASE!*
7:24 Hearing this out of context sounds like I'm In The Mood For Love! The line "simply because you're near me."
Is this especially for me David, my favourite band of all time you know, I hope Cory keeps playing with them! The technical stuff is way beyond me but I like the idea that when he is performing he is in the moment... the homework was done beforehand. All the best D
I imagine that approach applies to your tennis as well? (-:
Its meant too...although with all the coaching I've had over the past few years your mind can seriously get in the way!@@DBruce
Admiration is the only word here, to Cory Henry and those who analyse his world so well !!!
I watch joyfully your videos even though I know almost nothing about music theory. Great work!
Thanks for the shot of Cory playing at 4 years old. Reminded me of Amadeus. I would have to guess his technique has much to do with being a prodigy and playing constantly. Also as you say building into his brain and muscle memory a catalog of what be enjoys and finally having a great ear and friends to play with.
Then the internet’s a space for sharing knowledge. Thank you sooooo much!
To summarize, Corey is a musical genius, and the solo is insane!
Great analysis! Surely this must be one of the greatest solos in jazz ever?!
9:27-9:38 blew my mind! This is an amazing explanation of everything!
I'm so grateful that you exist.
This is definitely the best analysis of this solo, if not any solo I've ever seen. Thanks!
LOVE Snarky Puppy! This is the song that introduced me to them. It’s incredible!
In awe of your transcription skills.
This provides a much more practical approach to understanding a solo. Thanks Dave!
This is really awesome! I love being surprised by the topics you choose to make videos about.
Solid analysis of an instant classic. I love the visual cues within the score as well as not overly explaining the theory - enough to grasp the concept, but leaving enough there for the student to wander through. Great approach.
Thanks for this David. Incredible video about an incredible track.
David Bruce: "I hear what you've done there". This is pure gold.
Dude you crushed that analysis. I've got some synth solos that I don't know WHERE they came from, lol. The best thing for any solo is structure and building energy, not the number of chops and chords. Outside chords only work with good voice leading, like follow a melody or its nonsense. I'm just glad so many people are watching videos about jazz improvisation :)
Thank you so much. Very enlightening! Now I know a bit better why I was overwhelmed after first listening to Lingus, and particularly Cory Henry’s solo. And I am still bedazzled every time I listen to it.
Thanks David, thanks so much. Awesome analysis. I too am a jazz pianist. I've known for a long time in a general sense as most jazz musicians do that if some thing sounds good/cool there is always underlying theory within in it. With that blazing solo of Cory' s though I only knew this in a most general sense. But now, thanks to you I now understand more about his solo in a specific sense. As a private music educator myself that means quite a lot to me. thanks again, and extremely well done.
I don't know who were crazier... Henry by being able to play that or you by killing on your mind boggling explanation.
Amazing work! Keep it up
Amazing! Any Robert Glasper solo would be great. Cheers!
I CONCUR
Thank you for covering my favorite improvisor of all time
This video is incredible. It's amazing not only to see a very well-done transcription of this rollercoaster of a solo, but also explanations on how it "worked." Thank you David!
I think those opening chords are a great example of the Jacobean principle that as long as you’ve got a strong melody on top, and good voice leading in the middle, you can basically harmonize with whatever notes you want.
Right! Cory has a unique playing style, or IS IT?? I've listened to this dozens of times, because it brings out every emotion I muster. YES !!! I hear strong influences of every great modern jazz keyboardist wrapped up in this solo. There's fusion, classical, soul, gospel, even show tunes! It's all happening here. But I feel like I've heard some of these licks before. Some of these signatures, chords, runs, arpeggios, and sequences I feel like I've heard before in other amazing songs. Maybe, as this master is playing, he's channeling all "The Greats" you speak of. On any Snarky Puppy song- When Cory is let loose... LOOK OUT! There's brilliance in progress.
I'm speechless this is amazing omg
The sound of your hammer hitts on the piano is fantastic
I watched the whole thing enjoying how it totally went over my head knowing there are some people who understand exactly what is happening.
David Bruce, I could watch your videos even if they were five times as long. AWESOME!
This video is excellent! You have a real knack for knowing which information is important to the essence of a piece of music, and that comes through in this superb breakdown of a solo that leaves a lot of people (me included) a little dumbfounded on where to begin understanding it. Loved this style of video, going through a specific piece of music and talking about what makes it tick, and I would definitely want to see more of this kind of thing from you on any music you find fascinating!
superb! as always
I can't stop watching that solo, thanks for breaking it down. Awesome job!
420th like, I am now blessed. I know not where my fingers go from now on but I know they're going to the right keys. Somehow.
Thanks for this video, I can finally look beyond what I've heard on this solo.
Thank you Mr. Bruce. This analysis expanded my mind.
How many times does it need to be said, he’s heaven sent
Wow Just learning Piano and CH inspired me to keep practising. I am going to have to watch this video many times to get all the good info out of it ... cheers for the knowledge !!!
Excellent vid, David! The insight and depth of analysis makes it such an interesting watch
On side of my brain was already leaking from Corey's solo. Now the other side of is leaking from the explanation. Pure genius.
Great video , I love watching people breakdown this marvellous solo with their own interpretation
One thing to add - I think the biggest thing that people miss is that he's not playing over chords, he's playing over a single bass note all the time, you can basically play anything over a single pitch as long as you have an idea of the color you are going for and have a direction for it
Thank you so much 🙏 You really made it understandable. Now I'm even more inspired to try and get some of these ideas under my fingers
Great explanation of all of those chords and nots. What you can't explain is "F E E L". That, Cory Henry has in spades!
Awesome, just awesome! Thank you!
I’m working on learning this solo currently but not on a piano, and can’t play the full chords. This is amazing stuff, and helps fill in gaps for me! Thank you so much!!!
Thanks for making this video. Cory is a beast prodigy.
Great video! I appreciate the citations and homages to other's work (transcriptions, related work, etc.). Feels very academic and respectful.
humongous transcription job! thx for the in-depth analysis..yes, the Chick Corea RTF influence is heard at times
Allan Holdsworth, pretty much anything. I’m fairly sure history will view him as up there as one of the most important musicians, but sadly the world hasn’t caught up to where he was at yet!
Thank you very much. This video is also kind of historic in it's own way. I feel much more in contact with the solo now. And I think a lot more rational about it now. Thank you, David.
You should take a look at the live version of And the Melody Still Lingers On by Chaka Khan. This version has the Brecker Brothers playing the trumpet and tenor sax parts, which are pretty interesting, but there are also some crazy keyboard licks and solos that would be worth checking out as well.
Best video on this solo BY FAR