Hi Dennis ! Thanks for the good content ! I don't know if you watched this video from open studio about playing layback vs in front ruclips.net/video/xfr_dEzmFaU/видео.html but i found it very interesting and wanted to share with you.
Hey Dennis --- this is a really excellent video, thanks. I saw Freddie Green live with Count Basie back in the '70s. I got a seat right up front and watched Freddie and the Count and the whole band with total focus. I noticed two things about Freddie's guitar playing --- one is the harmonic side with his famous 4 - 4 rhythm chords and shells that we all admire so much. But the other side of Freddie's style is his physical attack in order to cut through the overwhelming brass and horns. His guitar became a percussive element, not just harmonic, that you could always feel. You can't truly experience this until you are right there in a live setting. He played a very large arch-top designed to give him volume, not relying on an amplifier. You can't play like this unless you are also in a big band. The third element in Freddie's playing that gets forgotten about ---- just like every other musician in Count Basie's orchestra, nobody played a note or a beat that wasn't arranged, discussed, and approved by Count Basie himself. Count Basie was the genius leader of that orchestra, without question, just like Duke Ellington of his orchestra.
Love it. I wa fortunate to see Freddie Green play with Basie at least a dozen times and 1 time was able to talk to him. And Chrlie was a groundbreaker and my favorite. Django's music speaks for itself and was awesome.
the amount of work, nuance and his systematic approach make Denis the number one scholar for swing and manouche rhythm on youtube and also a true "apostle" of the genre. Nothing but respect
I'm glad this video exists! Ty very much. I adore this era of jazz. The later stuff is good too, but the 30s stuff to me is just classic iconic goodness.
Denis, thank you for doing this video. I'm also super interested in Freddy Green's approach to rhythm! Also the less well known players, I am ready to be educated!
Quality content indeed! I don't think anyone else on RUclips has gone into this same level of detail. Early jazz guitar accompaniment has always been a mystery to me
the neck, bridge, neck, bridge style strumming is totally a North Texas thing. They teach every guitarist to do that. As soon as I stopped doing that my rhythm playing got way better lol
Wow what a tutorial thank you Denis you would love what I do I’m in all black UK based singing 1940s/ 1950s swinging doo wop vocal harmony group and I want to learn that early Charlie Christian style of playing to complete the band any teacher recommendations as that contemporary jazz teaching style is definitely not what I’m after .
Excellent presentation! Love the distinctions you draw across time periods and players. A thing I've been trying to do recently is to play the three note shapes I'm familiar with, but focus my strumming on the D or D&G strings. Maybe at times you're hearing Freddie hold two notes, but hit the D string more and the G string on occasion.
Holy tysm for your video, for some time I've had so many questions about Freddy Green styles about like for example like the up and down entertainer motion, and whether the 2nd and 4th beats get ascent or not and etc. THank you for all your insights..
Hello Denis. I would recommend to google the British guitarist Piers Clark. He is an outstanding rhythm player and I took a few lessons from him that helped me a lot.
Beautifully played. Captured the right sound and feel. By the way can you tell the guitars you were using. I know it's all in the fingers but good guitars help.Thanks
Slt Denis, bravo pour votre passion...en effet beaucoup de mystère pour comprendre ce qui se faisait à l'époque, je me demande comment Freddie Green a appris son art...je pense sûrement avec l'aide des autres musiciens de l'époque et pas forcément de banjoistes/guitaristes tant son style s'imbrique parfaitement avec l'ensemble.
5:45 - Freddie Green was using fuller chords until the end of the 1930s when something happened and he started using 1- or 2-note voicings. Could it be that he started using an electric guitar? Eddie Durham recorded an electric guitar solo with members of Count Basie's rhythm section in 1938, a major event.
Thanks for great content. one aspect that's never mentioned is amplification. I have a theory that in 30's through to the 50's ,everyone played thick chords and piano played the roots with the bass players, because speacker didn't struggled with the low end frequencies. That,s if they they were plugged in at all. Modern bass players are always amplified, and since the 60's, have no trouble projecting the low end. In this context the low end of a piano or thick guitar chords are not helping (like when playing acoustically) but are now getting in the way.
Wonderfull information. Thank you so much for your time and effort dedicated. I do wish however, that you went into a more deep dive on Kanye West's technique and approach.
Maybe moving your hand back and forth away/close to the bridge has to do with the boom/tchak rhythm. The boom being more warm/hollow/clean and the tchak being harsher so you can accent the 2/4 beats better. Theory anyway. :) About thick chords: Without amps, doesn't matter I think, as the guitar will be always in the back. With an amp it is way more important cause is easy to clash with the bass.
Great video! It occurred to me that it would be good to interview more older musicians (70+) to get their perspectives. Yo might find some that remember the late 30s and 40s !
That said, I think the people who remember the 30s as young adults are pretty much gone… It’s a shame. I feel that era was particularly crucial to the development of music in so many ways
Great info thanks! I agree that a complicated right hand movement isn’t something to necessarily aim for but when I watch and listen to Dave Kelbie on his arch top, the movement pattern he falls into seems like a natural extension of his time / swing feel. But yes I am with you in principle and appreciate all your points.
I think it’s totally fine to add a visual aspect to the playing as I said in the video. But I do know there are some people out there who think that this is the actual way to play. If there is a difference in sound, it is extremely minimal, i doubt anyone could consistently tell in a blindfold test assuming that in both instances it is played with a nice sound. Dave certainly has a nice light touch that is non-invasive, and it sounds fine, but you listen to other players who don’t do that, it also sounds fine. I’ve seen people try to do the visual thing religiously because they were taught to play that way, and then on fast tempos they struggle.
I would say Nick Rossi is another example, where you could say the same, that’s it’s appearing like a natural extension of his swing feel. Sound wise it’s not necessarily essential, but imo it can be noticeable though it’s subtle (with the circular motion having a dryer, trebled sound towards the bridge on beats 2&4, and more sustain sound downwards the fretboard on beat 1&3). Definitely worth to check him out, if you are looking for experts on Swing and also earlier Jazz guitar accompanying styles. Speaking of earlier styles Matt Munisteri is another valuable ressource btw, he gives also lessons on peghead nations.
Denis, why aren't transcriptions of Django recordings available as packs on DC Music? Is it a licensing thing? Would be cool to have comprehensive transcriptions available, maybe if they were recreated note-for-note by somebody else, especially for less common/popular songs.
Transcribing Django Reinhardt is a big part of learning Jazz Manouche all the great did it by themselves.. You shouldn't skip that part and with the modern age apps you can easily slow down the recordings it will be a bit difficult at the beginning but you won't regret it! I suggest you start with "swing 42" or "douce ambiance" wich are fairly easy
@@benben3210 I know. I'm just thinking as a profitable tool for Denis. The main problem is some of us just don't have the time for a lot of transcription.
I've come to proffer this comment to the algorithm gods, for I too have had a great interest in how the old guys played rhythm guitar-especially in big band settings by people such as Allan Reuss. Next to impossible to find solid info.
Ya unfortunately recording qualities being what they were in those days and the fact that the guitars were acoustic and buried in the mix make it hard to do this kind of research! You have to go through various reissues, and various recordings. In certain recordings, you can hear certain things better, and then you can hear that in the 1930s a lot of players definitely favored fuller chords, and if you’re lucky , in some instances, you can make out a number of notes in the chord voicing and then make some kind of educated guess. You can also look at the very few videos available from that area, and see their fingers, or you can look for pictures as well where guitarists were playing certain chord grips! It’s a lot of work! The idea that all you don’t need that many notes because it ‘s too much is certainly a theory, but to be honest, when I listen to some of the recordings from the 30s, I think the full chords do sound nice , and in my opinion don’t get in the way. They sound quite beefy.
the thing is we can play the melody, rhythm and comp the chords to Green, but nobody can put Green himself into any of it. Only Freddie can sound like Freddie....and I guess that's also true for all of them --groove on !
Here is the intro segment transcribed on Soundslice! Remember to leave a like or comment!
www.soundslice.com/slices/mtWkc/
Hi Dennis ! Thanks for the good content ! I don't know if you watched this video from open studio about playing layback vs in front ruclips.net/video/xfr_dEzmFaU/видео.html but i found it very interesting and wanted to share with you.
Hey Dennis --- this is a really excellent video, thanks. I saw Freddie Green live with Count Basie back in the '70s. I got a seat right up front and watched Freddie and the Count and the whole band with total focus. I noticed two things about Freddie's guitar playing --- one is the harmonic side with his famous 4 - 4 rhythm chords and shells that we all admire so much. But the other side of Freddie's style is his physical attack in order to cut through the overwhelming brass and horns. His guitar became a percussive element, not just harmonic, that you could always feel. You can't truly experience this until you are right there in a live setting. He played a very large arch-top designed to give him volume, not relying on an amplifier. You can't play like this unless you are also in a big band. The third element in Freddie's playing that gets forgotten about ---- just like every other musician in Count Basie's orchestra, nobody played a note or a beat that wasn't arranged, discussed, and approved by Count Basie himself. Count Basie was the genius leader of that orchestra, without question, just like Duke Ellington of his orchestra.
Love it. I wa fortunate to see Freddie Green play with Basie at least a dozen times and 1 time was able to talk to him. And Chrlie was a groundbreaker and my favorite. Django's music speaks for itself and was awesome.
Best educator out there
Denis, your the greatest!
the amount of work, nuance and his systematic approach make Denis the number one scholar for swing and manouche rhythm on youtube and also a true "apostle" of the genre. Nothing but respect
Ooh thank you so much for the kind comment!
This is quality content right here!
I'm glad this video exists! Ty very much. I adore this era of jazz. The later stuff is good too, but the 30s stuff to me is just classic iconic goodness.
This IS MOST DEFINITELY quality content!
This is quality content. As usual.
Denis, thank you for doing this video. I'm also super interested in Freddy Green's approach to rhythm! Also the less well known players, I am ready to be educated!
Tu filosofía es correcta. Tu verdad es importante. Gracias.
I’m always grateful for the videos you make!
Quality content indeed! I don't think anyone else on RUclips has gone into this same level of detail. Early jazz guitar accompaniment has always been a mystery to me
Thank you Denis!
Thanks for this. I’ve just started playing in a jazz orchestra. This is fascinating stuff. Thanks.
very good video Denis
Thank you for this fantastic video
the neck, bridge, neck, bridge style strumming is totally a North Texas thing. They teach every guitarist to do that. As soon as I stopped doing that my rhythm playing got way better lol
Hi Denis, thanks for sharing, much appreciated.
very good work! Tks!
Thanks Denis..😊
Wow what a tutorial thank you Denis you would love what I do I’m in all black UK based singing 1940s/ 1950s swinging doo wop vocal harmony group and I want to learn that early Charlie Christian style of playing to complete the band any teacher recommendations as that contemporary jazz teaching style is definitely not what I’m after .
Great insights sir, especially in relation to Django and the Hot Club. Thanks
Excellent presentation! Love the distinctions you draw across time periods and players. A thing I've been trying to do recently is to play the three note shapes I'm familiar with, but focus my strumming on the D or D&G strings. Maybe at times you're hearing Freddie hold two notes, but hit the D string more and the G string on occasion.
Thank you again for the quality content. 😁
Great lesson..
good video, thanks!
Great vídeo!!
Holy tysm for your video, for some time I've had so many questions about Freddy Green styles about like for example like the up and down entertainer motion, and whether the 2nd and 4th beats get ascent or not and etc. THank you for all your insights..
Great video as always!
Always wished there was a way to extract those old tracks. Nice work.
Hello Denis. I would recommend to google the British guitarist Piers Clark. He is an outstanding rhythm player and I took a few lessons from him that helped me a lot.
Beautifully played. Captured the right sound and feel. By the way can you tell the guitars you were using. I know it's all in the fingers but good guitars help.Thanks
Slt Denis, bravo pour votre passion...en effet beaucoup de mystère pour comprendre ce qui se faisait à l'époque, je me demande comment Freddie Green a appris son art...je pense sûrement avec l'aide des autres musiciens de l'époque et pas forcément de banjoistes/guitaristes tant son style s'imbrique parfaitement avec l'ensemble.
5:45 - Freddie Green was using fuller chords until the end of the 1930s when something happened and he started using 1- or 2-note voicings. Could it be that he started using an electric guitar? Eddie Durham recorded an electric guitar solo with members of Count Basie's rhythm section in 1938, a major event.
Great info
Thanks for great content. one aspect that's never mentioned is amplification. I have a theory that in 30's through to the 50's ,everyone played thick chords and piano played the roots with the bass players, because speacker didn't struggled with the low end frequencies. That,s if they they were plugged in at all.
Modern bass players are always amplified, and since the 60's, have no trouble projecting the low end. In this context the low end of a piano or thick guitar chords are not helping (like when playing acoustically) but are now getting in the way.
Awesome playing and info.
It almost sounds like your release often times comes on the swung 1/8th note offbeat. I never noticed that. Swingin!
Wonderfull information. Thank you so much for your time and effort dedicated. I do wish however, that you went into a more deep dive on Kanye West's technique and approach.
Maybe moving your hand back and forth away/close to the bridge has to do with the boom/tchak rhythm. The boom being more warm/hollow/clean and the tchak being harsher so you can accent the 2/4 beats better. Theory anyway. :)
About thick chords: Without amps, doesn't matter I think, as the guitar will be always in the back. With an amp it is way more important cause is easy to clash with the bass.
Great video! It occurred to me that it would be good to interview more older musicians (70+) to get their perspectives. Yo might find some that remember the late 30s and 40s !
It is something I’ve always wanted to do! Time is of the essence!
That said, I think the people who remember the 30s as young adults are pretty much gone… It’s a shame. I feel that era was particularly crucial to the development of music in so many ways
Martin Tremblay "was"...but he's still alive, and well Denis ;-)
Hahaa i think I said Martin Tremblay WHO IS A , but too fast…
@@DenisChangMusic early 30s slang !
Great info thanks! I agree that a complicated right hand movement isn’t something to necessarily aim for but when I watch and listen to Dave Kelbie on his arch top, the movement pattern he falls into seems like a natural extension of his time / swing feel. But yes I am with you in principle and appreciate all your points.
Beautiful guitar
I think it’s totally fine to add a visual aspect to the playing as I said in the video. But I do know there are some people out there who think that this is the actual way to play. If there is a difference in sound, it is extremely minimal, i doubt anyone could consistently tell in a blindfold test assuming that in both instances it is played with a nice sound. Dave certainly has a nice light touch that is non-invasive, and it sounds fine, but you listen to other players who don’t do that, it also sounds fine.
I’ve seen people try to do the visual thing religiously because they were taught to play that way, and then on fast tempos they struggle.
I would say Nick Rossi is another example, where you could say the same, that’s it’s appearing like a natural extension of his swing feel. Sound wise it’s not necessarily essential, but imo it can be noticeable though it’s subtle (with the circular motion having a dryer, trebled sound towards the bridge on beats 2&4, and more sustain sound downwards the fretboard on beat 1&3). Definitely worth to check him out, if you are looking for experts on Swing and also earlier Jazz guitar accompanying styles. Speaking of earlier styles Matt Munisteri is another valuable ressource btw, he gives also lessons on peghead nations.
Yeah!
20:41 Dave Kelbie is a fantastic rhythm player who started playing like that.
I agreee. Dave Kelbie Is a International recognised top Guitar rhythm player. So I do not agree with Denis in the minute 21:25.
did you get the MT guitar after all?? it sounds great!
I borrowed it! I wanna buy it but can't affoed it
Denis, why aren't transcriptions of Django recordings available as packs on DC Music? Is it a licensing thing? Would be cool to have comprehensive transcriptions available, maybe if they were recreated note-for-note by somebody else, especially for less common/popular songs.
Transcribing Django Reinhardt is a big part of learning Jazz Manouche all the great did it by themselves.. You shouldn't skip that part and with the modern age apps you can easily slow down the recordings it will be a bit difficult at the beginning but you won't regret it! I suggest you start with "swing 42" or "douce ambiance" wich are fairly easy
@@benben3210 I know. I'm just thinking as a profitable tool for Denis. The main problem is some of us just don't have the time for a lot of transcription.
The law does not allow it unfortunately
I've come to proffer this comment to the algorithm gods, for I too have had a great interest in how the old guys played rhythm guitar-especially in big band settings by people such as Allan Reuss. Next to impossible to find solid info.
Ya unfortunately recording qualities being what they were in those days and the fact that the guitars were acoustic and buried in the mix make it hard to do this kind of research! You have to go through various reissues, and various recordings. In certain recordings, you can hear certain things better, and then you can hear that in the 1930s a lot of players definitely favored fuller chords, and if you’re lucky , in some instances, you can make out a number of notes in the chord voicing and then make some kind of educated guess. You can also look at the very few videos available from that area, and see their fingers, or you can look for pictures as well where guitarists were playing certain chord grips! It’s a lot of work!
The idea that all you don’t need that many notes because it ‘s too much is certainly a theory, but to be honest, when I listen to some of the recordings from the 30s, I think the full chords do sound nice , and in my opinion don’t get in the way. They sound quite beefy.
To me, if you take all the rhythm styles you discussed and combined them, you’d get the rhythm guitar style of Herb Ellis.
the thing is we can play the melody, rhythm and comp the chords to Green, but nobody can put Green himself into any of it. Only Freddie can sound like Freddie....and I guess that's also true for all of them --groove on !