Here's what happened. I was at the National Guitar Workshop one week back in the '90s when someone attached my name to a course listing on a bulletin board. I'd mentioned in passing that I could offer a one-hour elective class on blues songwriting, so someone had dutifully put Blues SW on the board. A few hours later, about 20 guys came piling into my classroom looking for the Blues Swing class. 'Blues Swing'? I asked. What the heck is 'Blues Swing'?
So I spent the next hour talking about two of my favorite things, Charlie Christian licks and Freddie Green chord voicings, and everyone went away happy. Happy enough, at least, that for the next few of summers I taught a week-long class called
, in which I taught the moves of musicians like Oscar Moore, Mary Osborne and yes, Charlie Christian, lots more Charlie Christian. Along the way I realized that while it was really fun and plenty useful to treat swing like a period piece, it was also the perfect place to start exploring the idea of playing the changes in a more general way.
Twenty Flight Rockabilly Guitar Clinic
Playing the changes is jazz shorthand for playing the chord changes, and at its most fundamental means that for each chord in a progression, you choose to play notes – chord tones, scale tones – which match as directly as possible the notes of that chord.
Two things about this: first, this clearly differs from the blues idea of taking one pentatonic scale and pouring it over the whole chord progression. (Sub-thing, about
Thing: of course, there is a lot more nuance to it than that, and there are many musical and beautiful ways in which that idea can and has been spun into something far more detailed than it sounds, but that is a whole other conversation waiting to happen).
Online Guitar Lessons
Second, once you have a notion that these are the proper notes you can choose to play over this particular chord, that opens up an epic can of creative worms in which musicians, being human beings, immediately begin asking themselves and those within earshot, oh, really? well what if I start bending the idea of what's proper like
? Yeah, howdya like it when I...? Which is how we get from Louis Armstrong to Ornette Coleman in almost less time than it takes to go from being born to getting tenure. But I digress. As usual.
Stepping stone into a more nuanced and satisfying relationship with soloing over a chord progression. And swing (along with its raucus fraternal twin, jump blues) is the ideal stepping off point for blues-savvy guitarists looking to delve into a more nuanced and satisfying relationship with the twelve-bar form. The way swing musicians play the blues is familiar yet different enough to sound fresh and intriguing. And swing riffs and phrasing are already in the bloodstream of every major American roots genre, whether consciously nicked back in the day by the Texas Playboys, country session ace Hank Garland and rockabillies Scotty Moore and Bill Haley guitarist Danny Cedrone , adopted from secondary sources by southern rockers Dicky Betts and the Skynyrd crew or swiped by jazz-admiring bluesmen from B.B. to Gatemouth Brown to Albert Collins for their horn charts and hot licks.
Jump Blues Guitar Backing Tracks Vol. 2
Like Charlie Christian, like T-Bone Walker, like latter-day West Coast Blues purveyors including the emminently inventive and stylish Rick Holmstrom. However, over time I've realized that, just like learning to phrase like blues singers and soloists gave me guiding principles for behaving musically in
Soloing situation, learning to play in the swing idiom gave me essential grounding in how to relate scales and chord tones to
Not only that; understanding swing was a critical ingredient when I finally took on hard bop and the jazz blues changes. The difference between listening to '50s and '60s jazz before I studied swing and after was remarkable. But really, considering how bebop was developed as a daredevil extension of swing by a generation of musicians thoroughly grounded in the big-band aesthetics of the '30s, it makes all the sense in the world that understanding swing would provide an invaluable basis for hearing and understanding what came next.
This ''typical'' Rootsy (jump)blues Sound, How Do I Get It??
, gets right into all of this, exploring the scales, phrasing, eighth-note lines and fingerings involved in these genres. In particular, I go into detail about:
I've posted a sample lesson from the course, a more detailed course description and a table of contents listing all the lesson topics at the link below:In this 5th blues lick lesson, I show you how to play this jump blues lick in the key of C scale. This lick uses some interesting concepts, like the use of the major 3d, grace notes and a reverse sweep (or rake).
This is mostly an C major pentatonic blues lick that is used on the I-chord. The lick has a triplet feel and is played mostly in the 8th position on the guitar neck. On the figure below you can see the major & minor pentatonic (in the 8th position) next to each other as a comparison (R=root). Look specifically at the major 3d, because this is a recurring theme in this blues lick.
Jump Blues Archives
In this blues lick lesson, you get the guitar tabs on screen, a detailed explanation of the picking technique and 2 variations (adaptations) for a slower blues. Concepts that are present in this video
The guitar used is my 2013 Gibson ES-335. The guitar has a warm, vintage sound. Everything is recorded through my pedalboard and the Fractal Audio Systems AX8.
Practice this lick slowly first, then with the backing track on my channel. The lick is also easily transposable to other major blues songs, so I hope you’ll get some mileage out of this one.
Barndance Boogie Western Swing Dance Fest W/ Deke Dickerson
Jump Blues Solo in the key of C, in the style of Duke Robillard, JP Soars, Charlie Christian, and others. Download the tabs or jam along with the backing track. Enjoy!
After a classic turnaround introduction, the guitar solo starts with a quintessential jump blues lick. I play two choruses of 12 bars, emphasizing chord tones and paying attention to the swinging groove of this uptempo jump blues song in the key of C.
In the 3d chorus, the groove breaks up with the drum playing accents on the first beats of every bar. The lead guitar keeps jumping; however, with a part that is somewhat inspired by the playing of the great Charlie Christian on Stompin’ At The Savoy.
Blues Comping 101: Essential Rhythm Approaches For Blues Guitar
When the band enters again, the solo guitar plays hints of Rockabilly before entering the outro that is inspired by the playing of ‘red hot’ JP Soars and ‘the Duke, ’ Duke Robillard. After three turnarounds, the solo ends on another classic outro lick (covered in this post).
This jump guitar backing track is inspired by the blues music of Roomful of Blues (Duke Robillard) Big Joe Turner, Brian Setzer, and others. Jump, jive & jam with this up-tempo blues guitar jam track in the key of C. Download the chord sheet (incl. outro) here:
This blues jam track is a 12-bar blues in the key of C. After a quick turnaround intro, the classic 12 bar structure begins. The groovy thing about this jump blues backing track is that the first accents of the piano and the electric guitar are on a different eight note. This (intentional) quirky effect is augmented by a little stereo panning of the guitar and piano. This makes the rhythm accompaniment ‘jump’ from left to right.
Swing And Jump Blues Instructional Video
Jump Blues improvisation in the key of C, inspired by the playing of JP Soars, Chuck Berry (and even Josh Smith). Have fun with this guitar solo!
I filmed a jump blues solo improvisation this week and decided it would be a good idea to tab it out ! There are a lot ideas going on here, but the main inspiration comes from seeing JP Soars live a few years ago. He’s a great guitarist and plays these swingin’ blues licks on his ES-335 in a masterful way. Have fun with this ‘bag of licks’ (or tricks), inspired by JP Soars, but also B.B. King, Chuck Berry, Josh Smith & others. (Note: i made a small correction in bar 20)
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Learn Jump Blues In The Style Of Brian Setzer, Hollywood Fats And Jeff Beck
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