Jazz Guitar Comping in the Style of Freddie Green
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- Опубликовано: 25 окт 2015
- If you play rhythm guitar in a big band, then one name looms large for you: Freddie Green. The iconic rhythm guitarist in Count Basie's legendary "All American Rhythm Section," Green created a style of comping that is the gold standard for rhythm guitarists and is even called for by name.
Guitarist James Chirillo tells you more on how to comp like Freddie Green did. Learn more at out Jazz Academy by visiting academy.jazz.org
James Chirillo - Guitar
Eric Suquet - Director
Bill Thomas - Director of Photography
Richard Emery - Production Assistant
Seton Hawkins - Producer
Recorded April 15, 2013
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"Welcome to my world" - James Chirillo 2015
hospitalcleaner haha, I wanted to write his comment too
Seen this comment immediately after he said it haha
This is incredible. This guy has some really important stuff to say.
Regardless of genre, always make space for other instruments and voices. Took me years to learn this
SO TRUE!! I look back to my early years as a pro/semi pro musician and the entire circle of people I was playing with and maybe it was age, or ego? But nobody had ANY snese of leaving room for the next guy, or playing in service of the song (drummers were always the worst, always playing fills, even during verses,lol).
this lesson is brilliant and filled in a big piece for me. Would've been great to have this guy as your 1st guitar teacher. HUGE THANKS
+Joseph Butler More lessons from him here! ruclips.net/video/-82IYjYpJQk/видео.html
@@JazzAcademy god bless ya
2 years after the 1st time I watched this lesson, here I am watching again and thinking how great it is. Thank you so much for it.
The best analysis of Freddie's style that I have seen.
Mr.Chirillo: no words to thank you for your masterful lessons. I hadn't see anybody play rhythm as you do. That's the real thing.
Massively smart dude. Excellent presentation. I have wanted to understand this, literally, for years! Thank you!
Thank you so much for clearly explaining and demonstrating this comping technique! I’m in a big band for the first time and wasn’t sure I could hang, but now I believe I will actually have fun!
TL;DR: Don't play the root, emphasize 3, 6, and 7, hit the D string and mute everything else.
Thanks for exposing the DNA of Freddie Green's style. He was more about securing the song's foundation. Most don't understand his chordal and percussive importance.
I am not a Jazz guitarist. However, your insights are very relevant to all guitar players - I particularly liked your perspective concerning dancing, and how dancers relate to the emphasis of the rhythm, as well as what aspect of one's chordal voicing drives things. Thank you Mr Chirillo.
Thanks for posting this - not a much covered subject and that archtop guitar is a beauty!
Perfect. Green’s contribution is brilliant. Bach would have loved him.
Best explanation of this style I've ever heard.
Great Lesson! i love how you talk about what the Bass player is doing and how to fill in your part according to that.
Soooo nice to hear this addressed so accurately and succinctly.
One of my favorite lesson ever!!
Im so excited I find this channel! I love this videos, and I love Chirillo. Thanks so much.
In a late Count Basie and His Orchestra concert, I had a really great seat for seeing both Count Basie and Freddie Greene play. Greene, by the way, had only lately returned to the Basie band. So, probably none of us expected Freddie to be there. I certainly didn't. For the life of me, I could not figure out what Greene was doing. There is no doubt now that this gentleman just described it perfectly. It appeared to me as though Freddie Greene had his strings set up a little higher from the fret board than is usual, just as some bluegrass guitarists do. So far, though, I have not been able to confirm that this is a thing he characteristically did. Anyway, it was a total delight to hear one half of the legendary All-American Rhythm Section. Count Basie's tour drummer at that time was one of my area's local musicians. As far as I could tell, everyone in the audience knew him personally ..... except for me. He and the crowd were playing off one another and having great fun. It was a fantastic show.
James, thanks for teaching me something I needed to know. Blessings.
Fantastic lesson. Thank you!
What a great teacher. Even for a moderately musically-knowledgeable gentle man like myself.
Great lesson
Merry Christmas! Happy Holidays! I just wanted to take this time out of my day to offer a very heartfelt thanks to James for all he's done over the years.
It boggles the mind to discover just how many people these days, including jazz musicians, have absolutely no clue as to the function of the ACOUSTIC guitar in a big band ensemble. Believe it or not, even the Count Basie Orchestra no longer employs an acoustic rhythm guitarist in their band. It seems that everything is electric these days.
Well, I'm no one special, but at least I'm trying to keep Freddy's tradition alive. I play acoustic rhythm guitar (on a Godin 5th Avenue acoustic archtop).
It never ceases to amaze me, that when I show up at a gig, most, if not all, of the musicians, including the band leader (sometimes), look at me as if I'm an alien from a distant world. Perhaps I am? There is so much amplification these days. The bassist plays an electric bass guitar. The pianist plays an electric keyboard. Every band has a huge PA system. And then there's me. No amp. No microphone. Just my acoustic archtop. With heavy gauge strings, set VERY high. And a heavy, 3mm pick.
If I had a penny for every time someone told me that I'll never be heard, I'd have a LOT of pennies. But after every show, quite a few of the musicians make an effort to speak with me, letting me know that even if they didn't hear me, they FELT me, and that my guitar's presence really helped them. That's a really good feeling.
I've learned SO much from James over the years. Next month, I'll finally get my AFM union card. It's a dream come true... a dream of a lifetime (I'm 52 years old). I don't know if I'll ever get the opportunity to sit in Freddy's chair with the CBO, but that certainly would be the pinnacle of my journey.
Thanks James!
Merry Christmas!
I play in a Big Band ...this is GREAT advice. Thank you.
This is great. I'll be studying this video for a while.
outstanding explanation - clear and concise
This guy is the man. I wish my haircut was as good.
nicely done James! great analysis of FG chord work.
Great insight into both the dna of fg's playing and guitar anatomy! Cheers.
It's called Le Pompe in French, which was also popularized by the great Django Reinhardt
What a monster player, teacher and personality!
bravissimo. amazing player and also teacher.
Terrific video! James is just great. In talking about cutting through the mix, he’s cutting through the noise.
Insightful and concise. Many thanks
This is very nice documentation. If you listen then there is an answer for you 🎉 wonderful human
Great, love it!
Thanks! Brilliant video and explanation.
Thanks for this. Great advices.
There is no substitute for quality...............really good, thank you.
"Welcome to my world" Awesome!!
Thank you so much. This playing was a mystery for me for me before I watch this.
There is no knowledge that can be kept from those who desire to learn.
Wonderful explanation of the role I've been trying to figure out on my own. Thank you James! Bill MacDonald in Redmond, WA.
Fascinating. The 3- and 4-note voicings that many of us assume are "Freddie Green style" rhythm aren't actually what he played with the (full) Basie band for most of the years he was a member. Few swing guitar players, relatively speaking, have the opportunity to play rhythm behind 10-13 horns, where this 1 and 2-note approach is most effective. It still might be interesting to try in small-group settings, however. There is definitely value in mastering 3-note voicings for traditional swing, especially if there isn't a piano in the band comping as well.
Amazing lesson! Cheers
There is a book with a lot of content for the freddie green style, he was really aware that it was music for dancing, also he was really aware that there were 16 other instruments playing:)
Name of the book?
@@casualplay8555 Swing & Big Band Guitar by Charlton Johnson published by Hal Leonard
he talks music detail plays it shows it feels it
great video really great
+frank Glad you like it! Check this video out too for more lessons from James: ruclips.net/video/-82IYjYpJQk/видео.html
Wonderful lesson about tenor voice & 4th string 👍
This guy makes music make sense
Excellent lesson! I have a decent understanding of music theory-but have little formal music education/training. I really appreciate the way you broke this down into something very digestible.
"Welcome to my world." Cracks me up. Beautiful.
What a classy man & guitar.
Very good video. Thanks.
Iove you man!
Thank you.
Bravo
Wonderful. I remember you from Tiny Grimes. That was expanded rather than reduced choral playing.
Of His NickName:"The Human Metronome"-As Basie Himself Said-''If You Can't Hear Freddie Green,YOU'RE PLAYING 2 LOUD''!!!!!!!!!!!!
this is wild to think of what you are playing at this depth
This is handy. I have my first rehersal with a Jazz Swing Band in 2 weeks…
Such great advice...I've paid too much for bad lessons...
Thank you Mr Chirillo for sharing this knowledge. So much to learn. I'd like to also ask you about your right hand style. It seems to be that part of the function is also percussive, giving always some off beat "tcha" sound where you don't really hear any chord. Do you damp those with the left hand?
great advice on 2 noted chords
I wonder if this guy ever just cuts loose on his instrument. You know he can.
It is actually very. freeing to know that you can just hit one or two notes at times and still keep it flowing effectively. I used to think I was not doing the job if I played that minimally at times, but I feel validated now by Count Basie/Freddie Green and the Jazz Academy - Thank you for alleviating some "fear of jazz" (LOL) and its flipside, making things too complicated because you thought you had to. The point that it is in service of the ensemble approach to the song so people could get onboard, feel the swing naturally and DANCE was a take-home for me. It has always been about picking your shots/picking the right notes, but this helped me find that more readily.
what a treasure.
Another giant of that kind of comping was Tal Farlow.
Hervorragend.
Great! You´ve got a subscriber here. Greetings from Brazil!
6:42 .... the good part
Jazz is the most difficult music. I am new at the guitar, been learning for six months but definieltely NOT jazz. Tried jazz this week, but I have just surrendered.
Don't give up on jazz man... try to get your basics down before you start tho.
CanuckLifeTV Yep, I call rock, country, and riffs on major and minor scale, as well as my theory - the basics. THat means I give myself two years from now to even learn any extra chords.
6 months, and you wanna play jazz? Funny. I had been playing 5 or 6 years, and I could play ANYTHING I wanted in the rock and pop field. Then I tried my first jazz solo. And I thought it was the first time I had a guitar in my hand. The "strange" chord changes, swing, the little tonal nuances (listen to Django Reinhardt!), articulation, painting a ballad mood with an improvisation,... all are different from other kinds of music.
***** That is why I decided: No jazz for me till ten year's experience. Jazz is a whole other thing to me. Even Blues is next year. I am in country and rock only.
gunslingr100 will try. i wanted tto be fast transitioning between my regular chords before adding more.
Thanks for the video. What gauge/make strings do you recommend for hollow, semi-hollow guitars?
Bien ahí Landriscina tirando comping.
love so much this video. like the video is the best.
As we develop day by day,
Always follow your luck
I sincerely hope that your channel will be very big.
좋은영상 감사히 잘 보고갑니다.
하루하루노력하셔서 점점 발전되시어 초대형유투버가 되시기를 진심으로 힘껏 응원 하겠습니다.
When i learn a new song i learn the bass part first, its the frame of reference.
As a guy who studied classical guitar, I'm dying to know if this guy & others who play this form of rhythm guitar also dedicate themselves to other styles. Do they tend to also branch out into playing solo's like the horn players? Do they even get a Fake Book & arrange Standards for themselves to play, playing by themselves both the melodies & accompanying harmony like Joe Pass? Or is rhythm playing like this something some guitarists dedicated themselves to entirely?
This guy knows what’s going on.
8:32 Great band name: Dixieland Dogfight
what kind if guitar is that?
All right, man...
Who's here after the video 'how the rythm section swings' really blew up?
Guitar = melodic snare drum
Wow, that’s metal! lol But seriously, that’s a big thing. The foundation needs to be simple. It’s the only way the more complex stuff can shine.
this is great. where can i get a white room?
Take a regular room and then hang a wide roll of white paper behind you. Worked for us!
In order to get a white room you must first get a green one
6:40
15 MN DE BARRATIN 15 S DE MUSIQUE BRAVO
Guitar model?
D'Angelico archtop
@@DSteinman NOPE! It's a custom made beautiful beast of an acoustic archtop made by Carlo Greco (not Japanese, but an Italian Luthier in NYC). Let me just say, from first hand experience, James's guitar here is REALLY LOUD--it fills the room.
TL:DR : 6:38
May I ask (and I wonder if Mr. Chirillo will see this...) - Was Barry Galbraith's approach different to that of Freddie Green? Thank you - LOVED THIS (rhythm guitar is one of my favorite things in all jazz - Wayne Wright is another hero in the field).
Redinho, yes, Barry Galbraith's approach was different from Freddie's. Barry played his electric with the amp off when he was with Claude Thornhill. His guitar, even with the lower action still had a good acoustic sound. He focussed on the 3-string rhythm chords - the 3rd, 4th and 6th strings. Later, on various recording dates on his acoustic with bronze strings, you can tell his action is much lower than Freddie's and he's pretty consistent playing 3-string voicings. Another thing to keep in mind is that the bands of those days had acoustic bass - no amp - and they played much softer than bands do today. The Thornhill band in particular. They balanced more like a chamber group. In the great biography of Mel Lewis "View From the Back of the Band", Mel states that "I found that when playing a figure with the band, if I hit it just a little bit louder than when I do with a small group, it came out about right." He told me himself coming home from a gig one time "I hate it when they call me a great big band drummer. I don't play any different than when I'm in a *#!**! small group!"
This is the real deal regarding freddie green.
Bucky pizzarelli says exactly the same thing.
Music for dancing- rhythm is related to gravity.
Totally agree; 2day’s stuff’s too cerebral. Folks gotta pat their feet, snap their fingers & sway their bodies. Gtrst is the Pied Piper!
How long is just gonna stand there holding the guitar
I might be wrong, but he's sitting
michael Mcgovern--You just do not understand what he is teaching!
String height looks painfully high.
Everyone else is playing one note why not us. Doooh forgot the piano dude.
Swing big bands still are a "thing".
Freddie Green did not invent big band rhythm guitar. He is famous; many other greats are less known or even forgotten.
Charles Duckett Jr. : Very true. Fred Guy of the Duke Ellington orchestra comes to mind. Gene Krupa has a wonderful rhythm guitarist, yet I don't know his name. You can see him playing in some RUclips videos. Just search Gene Krupa and Anita O'day.
True. Rhythm guitar replaced the banjo in the older bands. I saw a guy named Steve Jordan back in the 70s, playing great rhythm guitar and singing the old style tunes. He definitely played fuller voicings. I don't don't think you have to play exactly like Freddie Green although I love that sound. I also saw Freddie live from CLOSE UP playing a ballroom type gig with Basie. MAN were his strings way up off the fingerboard!
@@robsgirl6465 Gene Krupa was a DRUMMER. One of the more famous drummers of the Swing era.
I can't believe this man doesn't have a british accent
Too much talking!
Huh?
‘Respectfully disagree.
When it comes to Freddie Green there is a lot of talking that needs to be done, because, either for 'job security,' or because he thought what he was doing was unremarkable, Freddie didn't write anything down or pass anything along. One thing this video doesn't address, which I have read elsewhere, is that the 'Freddie Green Sound' comes, in part, from the 'Freddie Green Setup' of having a rather high action to make it easier to do the subtle muted voicings, or complete deadenings, of strings he didn't want ringing through. My understanding is that everything we know about Freddie's style comes from people painstakingly reviewing footage of Freddie playing to understand where the voicings are coming from.
6:41