Exactly... great comment. This is why Levi thinks George's playing isn't clean and he had a hard time transcribing it. George isn't playing straight 8ths or straight 16th notes. He's speeding up and slowing down in the middle of his phrases, and he does this with intention. If this were written legit in terms of the rhythm of the notes, it would be hard to write, and it would be hard to read. And it's a combination of this somewhat off basic time but it's his accenting. This is what real jazz phrasing is all about. It's why an accomplished reader or classical player would find it hard to do what George does.
@@commodoor6549 yeah... I listened to Dexter Gordon the other day, sometimes he sounds so behind the beat, but still soo cool... actually that way of playing makes him Dexter Gordon!
The most insane thing about dudes like this is I can imagine more than half of it was improvised. It's in an odd meter with crazy outside playing, weird arpeggios and inversions, and he's absolutely shredding with a clean tone on a vintage hollowbody. Unreal. Pretty damn crazy you transcribed it as well, you're nuts!
Exactly. I'd even say 90% improvised with a few motifs to drive the band along. Some people really don't know...like 'theory elitists'. Theory is undeniably interesting and important in music, but some people take it too far, I think as a way to compensate for not being able to actually record and *create* something from their emotions from either lack of natural talent (which is indeed a real thing and apparently controversial to believe) or life experience. Like using complex theory and practice routines and chord vocabulary etc as a way to 'brute force' talent, missing the whole point (creating something that moves you emotionally) along the way. Guthrie Govan and his general attitude and vibe are what I'm thinking of. He is one of the most technically gifted guitarists of all time, but his music feels...gimmicky/unemotional while trying to show off at all times. That's just me, and maybe I haven't heard enough of his stuff, but I've seen a lot of interviews that rub me the wrong way. Steve Vai on the other hand boggles my mind and is some of the most emotional playing I've ever heard, whilst still super technical theory wise. And guess what...I've never heard of Steve being an elitist about theory. He's like "idk I move my fingers, it makes good sounds, might not work for you, or it maybe it will". They think music like this is someone sitting over a desk for weeks surrounded by crumpled papers, erasing and redrawing notes onto a staff like Beethoven. In reality, people that can play like this can do it at almost any time, any place. And sometimes we're lucky to witness them when the stars align and they're playing near their best or they happened to hit "record". Players like this that come to mind for me are Hendrix, Eddie Hazel, John Frusciante, and Neil Young. But also a great number of people in most popular rock bands in the last 50 years (Alice in Chains, Nirvana, Pearl Jam, RHCP) Super clean highly orchestrated stuff is amazing as well, don't get me wrong. I love Polyphia and Snarky Puppy and Joe Satriani and Steely Dan. People need to stop being elitists about that stuff though.
Dude, I'm sorry to say, but your whole comment has an old man yells at cloud energy to it. None of the guys you listed are theory elitists, least of all Guthrie Govan. Watch once again his interviews, because he's all about finding ways to explore one's inner voice. No one even brought up theory in this discussion. Anyway, theory it a tool to analyze music, creating music though is a different thing. If you dislike someones music it's because it doesnt vibe with you, not because they compose it from a theory elitist pov.
@@asiagobagel8293 Sounds like you're projecting your own insecurities onto things and people that no one is involving. Choosing who you like and who you don't is fair, but don't look for the boogeyman where there is none. Your portrayal of Guthrie Govan seems very warped, to say the least. Whenever I listened to him talk, his humility and genuine passion for the craft comes through. Not once I ever thought he had an "elitist" mindset. The total opposite comes to mind, if anything. Very rarely a good musician is also a good educator and he is one of those few; clear and concise, and very accessible with an elastic approach to showing and teaching concepts. Of little importance given the subjectivity of the matter, but I always found his music and playing very tasteful, too. For the record, Vai is VERY much into the analytical side of music. He was hired to transcribe and chart Zappa's music before joining his band. There are many interviews where he describes his own compositions in thorough detail. With that said, theory or no theory, what distinguishes the great artists from the rabble is their dedication to the craft, both in a mental and physical capacity. What Jimi Hendrix and Michael Brecker (and many others; I just wanted two figures who most people would consider on opposite ends of the spectrum) have in common is that, during their life, they spent thousands upon thousands of hours practicing, perfecting and pondering upon their art, trying to refine it to their greatest potential, each with their own methods. Whether it ends up reaching you emotionally, that's only up to you and your willingness to listen, as a spectator.
@@asiagobagel8293 My only issue with this is you cannot create complex music with intense (and I mean intense) emotion without knowledge of theory. I know it's antiquated but truly, listen to Chopins etudes (op10. No 6 and 12). There were many great composers in the day but Chopin in my opinion was far above most in his ability to write INSANE music where emotion comes FIRST. But nobody, and I mean nobody, could write music like that without a deep knowledge of music theory. Not just scales, not just triads, I mean all of it. The thing music theory does is it opens up all of the doors to the realms of emotion through sound. I'm working on it myself and it's stunning what can happen when you know what you can get away with. You're comment about people who can play like this can play it any time is correct, and it's correct because they have a vast knowledge of music theory. It's like speaking, it's your grammar, it's your punctuation, it's your accent, it's your vocabulary. If Jimi was around during this recording and was thrown into this gig, he wouldn't know what the hell to do, the pentatonic stuff only gets you so far. It's the difference between a high school graduates verbal abilities and a doctors verbal abilities. You simply can't improvise at a high level if you don't know what you can get away with in the context. So yes, prior to playing, these cats were practicing at INSANE levels ALL of the time. Also, John from the RHCP is objectively nowhere near a pro level guitar player. Yes he's in an insane band, they tour the world, they make millions, but regardless of that listen to them live today, he's barely hanging on, he throws notes out of tune with his hand, his bends aren't accurate etc etc. He might be a legend but compared to george benson, no shot in hell
@@KGFishyFingers you are entitled to being wrong. However, you are not entitled to people going along with your wrongness. In other words, no one that is qualified in any way, in music, accepts your opinion as being worth more than a rats ass
Can't remember if I've commented or not, but Levi, this is some killer transcribing of one of the finest guitar players in existence... Thanks for such incredible attention to detail, and dedication to not just quitting half way through this challenging piece...
Great pick, Levi! I've watched that clip many times... and I've seen George live 6 times, fortunately before he recorded "Masquerade" and became a pop star. And to think that many people just know him as a singer! He's definitely one of the original "shredders," unbelievable chops! He was criticized by some jazz journalists, saying that he sold out. His response was (and I'm probably paraphrasing a bit), "who am I to decide that my art is more important than taking care of my family?!" I get it... and besides, he had made his mark as a jazz master many times over. On his jazz gigs, he would do an unaccompanied "scatting with what he was playing" solo and in the middle of it, he'd stop and say, "I loves bebop, but I can't make no money playing it!" There you have it!
Absolutely beautiful, the playing and the transcribing... I love the way he makes all those chords and octaves roll effortlessly in and out of the single note runs....
Benson is a scary, scary, player. His early work when he was about 20/21 is frightening. His work with Stanley Turrentinne is some of the funkiest guitar playing I've heard. Check out Uncle Albert. By the way, great work.
Why tf do people keep saying someone good is scary? Nothing about what hes doing is scary or frightening, hes an amazing guitar player, it should make you feel awe not fucking fear
@@matejcevnik7362 Why tf do jazz musicians call each other 'cats' when they're actually just HUMANS? Why do musicians say the 'dig' something when they actually mean they just ENJOY something!? Why do people describe fast solos as 'burning' when nothing is actually ON FIRE!? Words should never have more than one meaning!!!
the lick he plays around 3:34 with the octaves is also one he plays in his live version of Sky Dive from when he played Carnegie Hall! i love that recording and immediately recognized it :)
Arguably the greatest guitarist ever! Great job on transcribing Levi. One thing I've noticed about George's playing is how equally comfortable he is playing descending lines as he is ascending lines. Most players are - (in my opinion) - better at playing ascending lines than descending lines, but George goes seamlessly from one to another at inhuman speeds!
Levy great job!!!!every time i feel i little out of shape, i put the VHS yes vhs of this Montreaux concert. this is the greatest5 solo ! thanks for transcribing!!!!
Take Five ... wonderful live version ... George Benson together with Pat Metheny are my favorite guitarists in Jazz! Benson owns a surreal phrasing... his playing is unique!
Thank you heaps, Levi. Great transcribing for one of GB's great solos. I've been a fan of his since 1970 when first hearing 'The other side of Abbey Road'. Many were quick to label George as a Wes clone, but I've always heard a lot of Kenny Burrell there. This performance is from his first encore after a mammoth Montreux concert with George playing a mammoth amount of super-skillful guitar (a shirt change was needed for his sweating). A footnote: the Japanese alto sax player who casually strolls behind George on the stage plays his guest solo spot after George. Half way through he looks around and chuckles in amazed, humble gratitude that the band (with GB playing a spot-on rhythm guitar) is so phenomenal as his temporary backing band. He's looking like he's just figured he's had his dream wish granted.
Levi, your explanation around difficulty levels of transcribing certain players rings very true with what I've heard of others. I once read of Guthrie Govan's transcriptions (during his time working for a guitar magazine) that despite the prodigous technique, clean and technical players often have (in Guthrie's exact word here) very quantized playing. The notes are well-defined and exist within a tight and predictable (if high speed and possibly changable rhythmic patterns) syncopation.
Just about my favourite guitar solo. When he closes his eyes, its like some higher being just takes over his fingers. He's not thinking or planning. Its just free flow genius.
Wowza that is quite mind blowing! Thank you so much for this Levi. You really do offer an amazing wealth of transcriptions. I've bought your beginner guitar book and keen to go through it. George is a monster! I'm not a jazz player myself but gosh this is so beautiful . The really fast picked lines are something I would expect other players to do with legato and hammer ons. It's incredible that he doesn't seem to use much legato! Or maybe I'm wrong? Thank you again Levi :)
You have to remember that legato is a technique, but we shouldn’t use technique to facilitate our lines, it’s something we should use for the sound it creates. Don’t take the easy way if it doesn’t sound right
dang Levi, i've been watching this performance of take five for years, i never get tired of it. its just so inspiring and amazing to watch. ive been transcribing this, its soooo freaking hard man i've been waiting someone to cover it and really i dont think anyone can
Check out Peter Farrel on his YT-channel. A Brazilian guy who was a student of his since being a young boy and these days doing a cooporation with GB promoting his unique style of a playing. If anyone could do this he would probably get very close.
It’s not just the chops…it’s the effortless phrasing and impeccable groove as well There’s plenty of chops monsters in jazz but how many can hold the attention of a non-guitarist, as well as Benson can?
Levi, perfect transcriptions!👍 George Benson great player guitar👏, my lovely player. 😇 if possible, do more of his compositions.🙏 Dreaming great his song👍
Imagine playing that clean, whilst achieving outrageous octave shread phrasing and jazz modulations, all done on a squeaky clean tone? Now that is top shelf!
Marcus Miller tells an amusing story of being at a session with George way back when. Turns out charts were going to be used, and George was for whatever reason caught unawares. So he comes over to Marcus in a bit of a panic, Marcus walks him quickly through the number, assuring him it's nothing he hasn't done a million times. Of course, George slays his part. I don't know if George ever learned to sight read, but it just hammers home again just what an incredible innate ear/talent/intuition this man has for music.
I saw this video in around 2009 and was blown away. Playing such fast solos that too in an archtop in clean tone. A never achievable dream for the slim neck jumbo frets higain tones .i still sometimes wonder how did he do it . I dont know if i can even play this with the tablature also
Incredible. I used to transcribe Charlie parker solos down to the "volume" level of his turnarounds and phrasing in between subbing for Joe Pass at Dontes and taking lessons from Warne Marsh...good times
There's a recent Frank Gambale solo that reminds me of this: (time 1:57) Lydian Nadhaswaram - Spot (ft. Frank Gambale, Mohini Dey, Gino Banks, Amirthavarshini
He’s one of the few in jazz that sounds great when shredding. There are so many great players out there on RUclips, very technical, however many of them do not sound great when shredding. Actually I even feel many sound terrible, despise being amazing technical players.
I don’t listen to a lot of jazz but Benson is still undeniably one of the best guitarists in the genre, his sense of phrasing and melody is impeccable and he’s just one hell of a player in general
People keep saying rhythmic or synchronized. It’s how he’s picking. It dates back to people picking up things from gypsy jazz. In the 80’s they called it economy picking. It’s not sweeping but it is. It’s always finding the way to play your lick with the fewest strokes. Frank Gambale’s whole thing is this. He can alternate pick too so he’s well versed. Eric Johnson used the same technique for his signature 5’s. Alt pick then sweep one string and do it again. Anyone interest look up Dweezil Zappa doing 3 octave pentatonic runs in like 1 second. Uses this technique.
Whoa...GB is just off in _the zone_ here...like the music is out there somewhere, playing itself through him... "Headache" for sure, but wow, one you don't need aspirin for, right? Thank you Mr. Clay for giving us mortals a chance to at least cop some of this magic!
LEVI - PLEASEEE TRANSCRIBE THIS ONE: Gary Moore - Dont Believe a Word from the Old Grey Whistle Test Not only is it an incredible solo but: 1) hes got Phil Lynott (Thin Lizzy) on bass and Cozy Powell on drums 2) he plays the solo (and the whole song) with a broken string 3) he is using the famous “Greeny” Les Paul (formerly owned by Peter Green) with a tone that is absolutely unsurpassed
@@jivinmiles6352 Yeah, I've known of him for decades. Just put him in the category of his Breezin song kinda thing without giving him a good listen. Harmony doubling his guitar solos eh? Yeah, there are some freaks out there. He's one!
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I love the way he shreds in short bursts which are part of his very rhythmic phrasing. He really says something
Exactly... great comment. This is why Levi thinks George's playing isn't clean and he had a hard time transcribing it. George isn't playing straight 8ths or straight 16th notes. He's speeding up and slowing down in the middle of his phrases, and he does this with intention. If this were written legit in terms of the rhythm of the notes, it would be hard to write, and it would be hard to read. And it's a combination of this somewhat off basic time but it's his accenting. This is what real jazz phrasing is all about. It's why an accomplished reader or classical player would find it hard to do what George does.
He does some nice long phrases in there as well!
@@commodoor6549 yeah... I listened to Dexter Gordon the other day, sometimes he sounds so behind the beat, but still soo cool... actually that way of playing makes him Dexter Gordon!
@@TheRocknrollmaniac Yes, very cool.
Absolutely spot on.
His playing is Divine. Synchronized and never a bad note.
Agreed: His "bad notes" are so good... he does hit a couple of intentional oddities in there and they are magnificent
Oh, really?
George Benson is such a monster!
That's crazy good work.
The most insane thing about dudes like this is I can imagine more than half of it was improvised. It's in an odd meter with crazy outside playing, weird arpeggios and inversions, and he's absolutely shredding with a clean tone on a vintage hollowbody. Unreal. Pretty damn crazy you transcribed it as well, you're nuts!
While they have practiced their licks from the start, usually the construction of the solo is on the spot! Incredible.
Exactly. I'd even say 90% improvised with a few motifs to drive the band along. Some people really don't know...like 'theory elitists'. Theory is undeniably interesting and important in music, but some people take it too far, I think as a way to compensate for not being able to actually record and *create* something from their emotions from either lack of natural talent (which is indeed a real thing and apparently controversial to believe) or life experience. Like using complex theory and practice routines and chord vocabulary etc as a way to 'brute force' talent, missing the whole point (creating something that moves you emotionally) along the way. Guthrie Govan and his general attitude and vibe are what I'm thinking of. He is one of the most technically gifted guitarists of all time, but his music feels...gimmicky/unemotional while trying to show off at all times. That's just me, and maybe I haven't heard enough of his stuff, but I've seen a lot of interviews that rub me the wrong way. Steve Vai on the other hand boggles my mind and is some of the most emotional playing I've ever heard, whilst still super technical theory wise. And guess what...I've never heard of Steve being an elitist about theory. He's like "idk I move my fingers, it makes good sounds, might not work for you, or it maybe it will".
They think music like this is someone sitting over a desk for weeks surrounded by crumpled papers, erasing and redrawing notes onto a staff like Beethoven. In reality, people that can play like this can do it at almost any time, any place. And sometimes we're lucky to witness them when the stars align and they're playing near their best or they happened to hit "record". Players like this that come to mind for me are Hendrix, Eddie Hazel, John Frusciante, and Neil Young. But also a great number of people in most popular rock bands in the last 50 years (Alice in Chains, Nirvana, Pearl Jam, RHCP)
Super clean highly orchestrated stuff is amazing as well, don't get me wrong. I love Polyphia and Snarky Puppy and Joe Satriani and Steely Dan. People need to stop being elitists about that stuff though.
Dude, I'm sorry to say, but your whole comment has an old man yells at cloud energy to it.
None of the guys you listed are theory elitists, least of all Guthrie Govan. Watch once again his interviews, because he's all about finding ways to explore one's inner voice.
No one even brought up theory in this discussion. Anyway, theory it a tool to analyze music, creating music though is a different thing. If you dislike someones music it's because it doesnt vibe with you, not because they compose it from a theory elitist pov.
@@asiagobagel8293 Sounds like you're projecting your own insecurities onto things and people that no one is involving. Choosing who you like and who you don't is fair, but don't look for the boogeyman where there is none.
Your portrayal of Guthrie Govan seems very warped, to say the least. Whenever I listened to him talk, his humility and genuine passion for the craft comes through. Not once I ever thought he had an "elitist" mindset. The total opposite comes to mind, if anything. Very rarely a good musician is also a good educator and he is one of those few; clear and concise, and very accessible with an elastic approach to showing and teaching concepts. Of little importance given the subjectivity of the matter, but I always found his music and playing very tasteful, too.
For the record, Vai is VERY much into the analytical side of music. He was hired to transcribe and chart Zappa's music before joining his band. There are many interviews where he describes his own compositions in thorough detail.
With that said, theory or no theory, what distinguishes the great artists from the rabble is their dedication to the craft, both in a mental and physical capacity. What Jimi Hendrix and Michael Brecker (and many others; I just wanted two figures who most people would consider on opposite ends of the spectrum) have in common is that, during their life, they spent thousands upon thousands of hours practicing, perfecting and pondering upon their art, trying to refine it to their greatest potential, each with their own methods. Whether it ends up reaching you emotionally, that's only up to you and your willingness to listen, as a spectator.
@@asiagobagel8293 My only issue with this is you cannot create complex music with intense (and I mean intense) emotion without knowledge of theory. I know it's antiquated but truly, listen to Chopins etudes (op10. No 6 and 12). There were many great composers in the day but Chopin in my opinion was far above most in his ability to write INSANE music where emotion comes FIRST. But nobody, and I mean nobody, could write music like that without a deep knowledge of music theory. Not just scales, not just triads, I mean all of it. The thing music theory does is it opens up all of the doors to the realms of emotion through sound. I'm working on it myself and it's stunning what can happen when you know what you can get away with.
You're comment about people who can play like this can play it any time is correct, and it's correct because they have a vast knowledge of music theory. It's like speaking, it's your grammar, it's your punctuation, it's your accent, it's your vocabulary. If Jimi was around during this recording and was thrown into this gig, he wouldn't know what the hell to do, the pentatonic stuff only gets you so far. It's the difference between a high school graduates verbal abilities and a doctors verbal abilities. You simply can't improvise at a high level if you don't know what you can get away with in the context. So yes, prior to playing, these cats were practicing at INSANE levels ALL of the time. Also, John from the RHCP is objectively nowhere near a pro level guitar player. Yes he's in an insane band, they tour the world, they make millions, but regardless of that listen to them live today, he's barely hanging on, he throws notes out of tune with his hand, his bends aren't accurate etc etc. He might be a legend but compared to george benson, no shot in hell
Man, this is some hardcore shredding. Better not sleep on this genre. Great job as usual. 👍🏾
Anyone can shred. The reason this particular "shredding" is great is because his lines make sense, have dynamics and rhythm while he is shredding.
@@user-ov5nd1fb7s totally disagree.. it makes no sense and sounds like complete mule dung.
@@KGFishyFingers you are entitled to being wrong. However, you are not entitled to people going along with your wrongness. In other words, no one that is qualified in any way, in music, accepts your opinion as being worth more than a rats ass
@@KGFishyFingers LoL. totally wrong, but made me laugh all the same.
@@user-ov5nd1fb7s yes, but being a metalhead, I tend to overlook what the guys in this genre are capable of, and it's quite impressive.
This is a truly beastly solo across every dimension, from harmonic ideas to feel to speed, you're a legend for transcribing this.
Can't remember if I've commented or not, but Levi, this is some killer transcribing of one of the finest guitar players in existence... Thanks for such incredible attention to detail, and dedication to not just quitting half way through this challenging piece...
Great pick, Levi! I've watched that clip many times... and I've seen George live 6 times, fortunately before he recorded "Masquerade" and became a pop star. And to think that many people just know him as a singer! He's definitely one of the original "shredders," unbelievable chops! He was criticized by some jazz journalists, saying that he sold out. His response was (and I'm probably paraphrasing a bit), "who am I to decide that my art is more important than taking care of my family?!" I get it... and besides, he had made his mark as a jazz master many times over. On his jazz gigs, he would do an unaccompanied "scatting with what he was playing" solo and in the middle of it, he'd stop and say, "I loves bebop, but I can't make no money playing it!" There you have it!
Have had the privilege of seeing him live many, many times. He is impeccable live; flawless playing! 👌 Thanks for this transcription 🤘.
Absolutely beautiful, the playing and the transcribing... I love the way he makes all those chords and octaves roll effortlessly in and out of the single note runs....
Great job! I can't imagine tryna tackle some of those lines. Especially love those slippery octaves, sooo slick
Benson is a scary, scary, player. His early work when he was about 20/21 is frightening. His work with Stanley Turrentinne is some of the funkiest guitar playing I've heard. Check out Uncle Albert. By the way, great work.
I love his work with Brother McDuff.
His solo on "Billie's Bounce" is one I always go back to when my playing gets a little stiff. Dude was 24 when he recorded that shit. Blows my mind.
Why tf do people keep saying someone good is scary? Nothing about what hes doing is scary or frightening, hes an amazing guitar player, it should make you feel awe not fucking fear
@@matejcevnik7362 alright, calm down Mr pedantic.
@@matejcevnik7362 Why tf do jazz musicians call each other 'cats' when they're actually just HUMANS? Why do musicians say the 'dig' something when they actually mean they just ENJOY something!? Why do people describe fast solos as 'burning' when nothing is actually ON FIRE!? Words should never have more than one meaning!!!
Excellent transcription!!! Unbelievable solo, on a hollow body, and clean!!! Next level playing
What a an absolute beast, both George Benson for the amazing chops, and you for being able to transcribe that 🔥
Many thanks, Levi. I love when George is in the zone. He was on this one.
the lick he plays around 3:34 with the octaves is also one he plays in his live version of Sky Dive from when he played Carnegie Hall! i love that recording and immediately recognized it :)
Arguably the greatest guitarist ever! Great job on transcribing Levi. One thing I've noticed about George's playing is how equally comfortable he is playing descending lines as he is ascending lines. Most players are - (in my opinion) - better at playing ascending lines than descending lines, but George goes seamlessly from one to another at inhuman speeds!
George is up there without a doubt but he owes a lot to Wes Montgomery
@@Nichi-Ji Every great guitarist who came after him has been influenced by Wes - from Eric Johnson to Pat Metheny and everyone in between!
This solo was on youtube for a while then taken down for years, best version ever... BRAVO FOR DOING THIS!!!
I keep rediscovering George Benson and every time there is something new .
That picking is crazy, and you are the best, thanks for your hard work 👍👍👍‼️
Levy great job!!!!every time i feel i little out of shape, i put the VHS yes vhs of this Montreaux concert. this is the greatest5 solo ! thanks for transcribing!!!!
Wow, just when I was looking for the best George Benson solos, you drop this!
His playing is clean, quick, harmonically dashing, and liquid flowing grace. He's water on fire, to me.
undoubtedly one of the greatest players ever, but also undoubtedly my greatest respect for your passion and work!
amazing work.. thank you for this !!! i gotta start practicing now with your Transcription..
He's pushing the time on the whole thing so hard . GOD .I understand why it's a nightmare . Bravo .
Take Five ... wonderful live version ... George Benson together with Pat Metheny are my favorite guitarists in Jazz! Benson owns a surreal phrasing... his playing is unique!
Thank you heaps, Levi. Great transcribing for one of GB's great solos. I've been a fan of his since 1970 when first hearing 'The other side of Abbey Road'. Many were quick to label George as a Wes clone, but I've always heard a lot of Kenny Burrell there.
This performance is from his first encore after a mammoth Montreux concert with George playing a mammoth amount of super-skillful guitar (a shirt change was needed for his sweating).
A footnote: the Japanese alto sax player who casually strolls behind George on the stage plays his guest solo spot after George. Half way through he looks around and chuckles in amazed, humble gratitude that the band (with GB playing a spot-on rhythm guitar) is so phenomenal as his temporary backing band. He's looking like he's just figured he's had his dream wish granted.
LGB is one of the most underrated guitarists of all time. His catalogue is massive, full of great inspiration and always groovy af.
Levi, your explanation around difficulty levels of transcribing certain players rings very true with what I've heard of others. I once read of Guthrie Govan's transcriptions (during his time working for a guitar magazine) that despite the prodigous technique, clean and technical players often have (in Guthrie's exact word here) very quantized playing. The notes are well-defined and exist within a tight and predictable (if high speed and possibly changable rhythmic patterns) syncopation.
Really interesting insights in the intro 👍
Glad you liked it
Levi, you are the man. I appreciate your efforts on doing tedious stuff like this. Subscribed! And George Benson kick ass!
Fantastic work! Really glad I subbed and got your Patreon too
unbelievable , i have no words.
Amazing transcription by the way! ❤
The man is an icon, terrific artist, great technique, God bless him.
Just wonderful, thanks dear Levi
Man that's awesome work you're doing here!
Amazing playing, love GB!
Amazingly played and insanely well tabbed! Very good work
Just about my favourite guitar solo. When he closes his eyes, its like some higher being just takes over his fingers. He's not thinking or planning. Its just free flow genius.
Damn!!!! This is SO GOOD. Kudos to you for transcribing this masterpiece.
I had the same model of guitar, an ‘82 Ibanez FG-100. One of the best I played in my life.
Wowza that is quite mind blowing! Thank you so much for this Levi. You really do offer an amazing wealth of transcriptions. I've bought your beginner guitar book and keen to go through it. George is a monster! I'm not a jazz player myself but gosh this is so beautiful . The really fast picked lines are something I would expect other players to do with legato and hammer ons. It's incredible that he doesn't seem to use much legato! Or maybe I'm wrong? Thank you again Levi :)
You have to remember that legato is a technique, but we shouldn’t use technique to facilitate our lines, it’s something we should use for the sound it creates. Don’t take the easy way if it doesn’t sound right
👏🏽Big Respect for your hard work on the transcription..Mr.George Benson is a Boss🥇
That’s just incredibly incredible. Wow! And I’ve never heard of him in my 16 years of being deep in to music and guitar magazines.
30 years for me!
What a barn burner! GB put this one on Stun! I started hearing The Byrds' "Eight Miles High" about the 4 minute mark!
George was even awesome on Piano (for the few who don't know), he was a very talented musician from before my time.
great job with this transcription , some great chops over a 1 chord vamp
Fantastic job Levi 👏
dang Levi, i've been watching this performance of take five for years, i never get tired of it. its just so inspiring and amazing to watch. ive been transcribing this, its soooo freaking hard man i've been waiting someone to cover it and really i dont think anyone can
Check out Peter Farrel on his YT-channel. A Brazilian guy who was a student of his since being a young boy and these days doing a cooporation with GB promoting his unique style of a playing. If anyone could do this he would probably get very close.
Levi, This is going to be a very hard one to top : ) Awesome job brother!!!
definitely worths the effort, kudos and thanks.
Fantastic work 👏 really appreciate what you do
It’s not just the chops…it’s the effortless phrasing and impeccable groove as well
There’s plenty of chops monsters in jazz but how many can hold the attention of a non-guitarist, as well as Benson can?
It could be because he is a musician that plays guitar, not a guitarist that plays music.
@@jkdbobby well said!
Levi, perfect transcriptions!👍 George Benson great player guitar👏, my lovely player. 😇 if possible, do more of his compositions.🙏 Dreaming great his song👍
One of they greatests. Love him.
Bars 78-80 are absolutely heavenly
Amazing. Thank you!
The best jazz guitarist ever to play. No body comes close to him period.
I remember looking at a lick from Breezin. It took me 20 mins just to wrap my head around it. Dude's great
Imagine playing that clean, whilst achieving outrageous octave shread phrasing and jazz modulations, all done on a squeaky clean tone? Now that is top shelf!
Oh my. That is breathtaking stuff.
Marcus Miller tells an amusing story of being at a session with George way back when. Turns out charts were going to be used, and George was for whatever reason caught unawares. So he comes over to Marcus in a bit of a panic, Marcus walks him quickly through the number, assuring him it's nothing he hasn't done a million times. Of course, George slays his part.
I don't know if George ever learned to sight read, but it just hammers home again just what an incredible innate ear/talent/intuition this man has for music.
How did Marcus Miller sight read?
I love that video, used to binge watch it
I saw this video in around 2009 and was blown away. Playing such fast solos that too in an archtop in clean tone. A never achievable dream for the slim neck jumbo frets higain tones .i still sometimes wonder how did he do it . I dont know if i can even play this with the tablature also
Great solo, thanks for posting it.
Incredible. I used to transcribe Charlie parker solos down to the "volume" level of his turnarounds and phrasing in between subbing for Joe Pass at Dontes and taking lessons from Warne Marsh...good times
One of my all time favorites!!
There's a recent Frank Gambale solo that reminds me of this:
(time 1:57)
Lydian Nadhaswaram - Spot (ft. Frank Gambale, Mohini Dey, Gino Banks, Amirthavarshini
He’s one of the few in jazz that sounds great when shredding. There are so many great players out there on RUclips, very technical, however many of them do not sound great when shredding. Actually I even feel many sound terrible, despise being amazing technical players.
Astounding playing!
I was waiting for a Mr Benson video!
I don’t listen to a lot of jazz but Benson is still undeniably one of the best guitarists in the genre, his sense of phrasing and melody is impeccable and he’s just one hell of a player in general
Awesome work.
my hometown guy, he's from pittsburgh, pa. I listen to dave brubeck do this on my rotation thru my playlists
That's insane. Great job.
Wow, George is on fire with these licks!
The natural rhythm of GB nothing like it🔥🔥💥phenomenal ✨”one of the greats”
Very impressive, sounds like McLaughlin at times. I already knew Benson is underrated, but.. wow!
Thanks that was helpful, what guitar was George playing on that video.
People keep saying rhythmic or synchronized. It’s how he’s picking. It dates back to people picking up things from gypsy jazz. In the 80’s they called it economy picking. It’s not sweeping but it is. It’s always finding the way to play your lick with the fewest strokes. Frank Gambale’s whole thing is this. He can alternate pick too so he’s well versed. Eric Johnson used the same technique for his signature 5’s. Alt pick then sweep one string and do it again. Anyone interest look up Dweezil Zappa doing 3 octave pentatonic runs in like 1 second. Uses this technique.
the entire solo is just next level
The scariest lick which ends off the solo is cut off at the end as well
Whoa...GB is just off in _the zone_ here...like the music is out there somewhere, playing itself through him... "Headache" for sure, but wow, one you don't need aspirin for, right? Thank you Mr. Clay for giving us mortals a chance to at least cop some of this magic!
OH MY GOD THANK YOU SOOOOOOOOOOO MUCH
LEVI - PLEASEEE TRANSCRIBE THIS ONE:
Gary Moore - Dont Believe a Word from the Old Grey Whistle Test
Not only is it an incredible solo but:
1) hes got Phil Lynott (Thin Lizzy) on bass and Cozy Powell on drums
2) he plays the solo (and the whole song) with a broken string
3) he is using the famous “Greeny” Les Paul (formerly owned by Peter Green) with a tone that is absolutely unsurpassed
Great suggestion but you gotta make suggestions on his discord server, not in the comments here
liked for the insane amount of work, then subbed for the Empath shirt. right on.
People should watch the full version and listen to Sado's amazing sax solo when George finishes.
👍 well done mate.
One of a kind ❤🎸🦍🎶🎵🎼Planet Earth George Benson thank you
Might be cool to see a behind the scenes/transcription process video where you talk about what you do and how you do it, etc.
Countless videos of that on my live section :)
@@LeviClay Thanks, have never caught your live videos live!
Even though I don't necessarily wanna play like this you have to respect his playing, he's super clean and accurate and fast
BENSON IS ONE OF THE MASTERS !!!!!
Great Job!
I had no idea he was such a shredder! WTF?!? Great chops with a lovely tone.
Amongst guitarists, it’s what he’s known for! He can also sing every bepop note he plays and harmonize with himself.
@@jivinmiles6352 Yeah, I've known of him for decades. Just put him in the category of his Breezin song kinda thing without giving him a good listen. Harmony doubling his guitar solos eh? Yeah, there are some freaks out there. He's one!
It doesn't get any better than George.
I was hoping someone would transcribe this for years as i am too lazy (and incompetent) to do it, thanks Levi!
My goodness!!! Seeing this on "paper" gives me nightmares. Damn! What a guitarist!
Superb.