okay there's the main thing you need to
work on is rhythm like by far more than
although I would say harmonically got a
lot of work to do there too in order to
I mean the way the way to think about
English sizing is it's exactly like
Grandma and the more you know about it
the more the more different ways you can
talk about any subject and for me rhythm
thing is is the one element that you
can't avoid I mean you've got to get in
there and get real specific with it it
seems like you're rhythmically you're
not as critical of the rhythms that
you're playing and how you're executing
them as you should be I mean for me I
always get to play with guys that had
great time particular there's a drummer
in Kansas City and Tommy Ruskin
plays multi-target but he had like great
times and he just wouldn't accept
anything that was rhythmically awkward
or inaccurate or if it was like supposed
to be this wasn't why he would even say
anything but he would let you know that
it wasn't cool it seems like you need to
get much more critical about how
specific your rhythms are I'm just
beginning to say oh do you have a drum
machine or anything or metronome you
have to I mean it's it's good to take
yourself a lot
for me when I'm playing I'm here I'm
subdividing in my mind like triplets
like I can't sing it but that's
everything that I'm playing whether I'm
playing on top or behind or whatever
I've always liked hearing that night in
my mind actually my stomach I mean
that's always going on and having putted
a lot of good drummers you notice that's
what they do even people like these you
matter what I means or somebody who's
really going to mess with it there's
always this undercurrent of whatever the
smallest subdivision is and their limbs
don't ever have to play it's just like
they're like by virtue of them being
there all those subdivisions are being
heard and if you play something that's a
little off right there I'm Way behind as
long as you're in those subdivisions it
sounds like it's swinging but if it's
not if you're not hearing everything
that you're not playing as well as what
you are playing it's going to sound like
you're floating on top so the idea would
be to practice things like with a
metronome or drum machine putting up all
kinds of different ways like right now I
just arch people all support way behind
it and make it feel differently
I think things to my corner - all the
time well it's a swim kind of thing if
it's an email ain't no thing it's
usually 16th notes
so I mean I mean be effective that is it
on climb very free against it I mean
it's loose but at the same time
everything that I'm flying is very
accurate for what it is it seems like
you're not as long as saying the word is
critical you're not as critical about
rhythms as he should be so I would just
increase your awareness of that also I
mean the more you can play with really
good drummers the better
and particularly drummers who can talk
about what they do and it doesn't even
matter the style it could be a jazz
drummer good country wise to draw some
drummer who really has a thing that's
the best experience I mean for me that's
where I've always been extremely lucky
especially my own young
harmonically it seems like you're not as
it's sort of like I see all the harmony
kind of going along like this and I see
you kind of above it and you
occasionally dip down inside it but
you're not like really in it all the
time you're kind of playing over it but
yeah and I mean you know that there's
two guys and I mean I'm not to say that
I mean I know that you you're already
very aware of it but the more that you
can really get a detailed hands-on feel
of what Charlie Parker and Coltrane do
or you've got it because that's those
are the two real-life vivid examples of
how to get it so that the lines are
inside the rhythm section rather than on
top which to mean is always the goal
where you're actually when you're flying
solo or something you're like in there
with the basement drums you're not
writing on top and that's something very
few hardly any guitar players can do it
very few jazz guys period can do there's
a lot of guys who float and who are on
top flying weather isn't section where
if you guys who actually are like and
they're in their hands
in harmonically all wants in the contest
either so to me that's always the most
appealing kinds of players I mean are
you know as far as contemporary guys I
mean there's Brecker who can really do
that yeah he's fantastic Schofield is
one of the guitar players that can do it
Jim Hall's always been able to do a Wes
Montgomery did it you know it's that
thing where there's no difference
between what the rhythm section is
playing what the soloist is okay I'm
mushroom falling doing really yes quite
presents when I'm planning on quite
course of losing you can hear every core
team and in the in the line right and
like the kind of thing you were planning
was more like you were making the
changes it wasn't if you want to make
the changes but you weren't really
saying the changes you were kind of like
I mean it was correct but you weren't
you weren't implying a lot of harmonica
activity or time you're kind of at that
stage where you've got to handle up what
notes you playing what chords and you
don't make big plans too much in terms
of May playing like a month
major 3rd on a Monica or desert thing
but you're not really at the point yet
where you're like describing the chords
in a real elephant kind of way and that
would be a real goal that's that's what
I'm talking about in terms I mean you
know to me that the best players are
guys who can play with just a bass line
or even just drums and you hear all of
the harmonic information in the tune but
they're playing and that's that's an
area should probably work now now the
key one just guitarists and key to that
that I'm doing a whole lot and it's one
of those things is real obvious and not
too many people get it together is to
just be able to play out
whatever more you find as opposed to the
scale I knew about probably intercept of
what I play I'm not playing any chord
tones at all I mean any scale tones I'm
only playing for tone we like white
doesn't blue or just yeah if you're
pointing yeah well Genevan when I was
just playing with very much outlining
chords but in a rhythmically interesting
kind of way but I'll just do a course
I'll only play chord tones
you know and I'm sort of like you know
make me have him progressions let's go
Saturday on some suburbs yeah which is
that that's the whole Coltrane thing is
not make enough to progression based on
the original a lot of times we're not
playing like with a contact or a full
rhythms like
I'm not conscious of trying to outline
the changes I mean I like to kind of we
don't know I should be able to enjoy
just how the tendency to work over yeah
as I think about the plan basically by
analogy that's good that's fine and the
thing to do is to take that concept in
terms of point over it and then be able
to do that but also be able to do it the
other way so that you can I mean you
know the ideal situation is to be able
to do anything and then to be able to
decide what you're going to do at the
time rather than only being able to do
certain things and sort of having to do
those same with phrasing I mean it's
good to be able to phrase all kinds of
different ways biblically as well as
terms of how your ticket
a lot of different points as it but like
some guys for instance holy phrase like
my thinking right it's good to be able
to not pick up anyone how do you want
the line sale some guys just can't
switch in the middle of the line they're
either not picking one of the picking
and I mean it's even a goal line is to
be able to really get that together so
that I can phrase in all kinds of
different ways not just have to do is a
kind of slippery way if I'm an
articulate each now that I can do that
to and be able to real freely get back
and forth between all the different
kinds of phrasing your table below as
well as this thing I was saying before
of being able to play on top a way
behind or right in the middle at will
and be able to switch among stemming
just like and how do you think of
harmonically I mean well I'm getting
just so much on blows binding your plane
is like you do a lot like I don't really
know how to explain but like my tracker
you can hear any cover the changes and
it's like you just kind of steps out but
it comes back well the thing is it's not
it's not really that so much as as as
doing that thing of just mean it at this
point it's very difficult for me to play
anything that I hear as being outside of
the courts because of everything that I
play I see it as we relating to I mean
you know with the exception of major
sevens on minor seven courts I can
pretty much hear all twelve tones on any
court yeah and that that was something
that took a long time to get together
but I mean like if I if I please hook
that note and it's going to see
I mean I'm generally hearing all the
notes below it that would lead to it you
follow up say yes you're not thinking
you're just taking extensions exactly
and then so to get them so it asks flex
getting first encounter blues I mean if
I'm funny and I do I just started
thinking of you know like Antoinette
Ford there's all these other notes up
here that become extensions but also
making up your chord progressions over
time
yeah
Ted truth this is truly Brecker and with
me and almost every good player if you
have great time you can play anything as
long I mean it's like where that's I
mean you know I can say chromatic scale
he's gonna sound like it's some hip
because because of the way it's being
played almost as much as what the notes
are yeah because it's like when if you
get that groove happen and I mean people
just follow it you know it's like that's
what people respond to on a much more
kind of instinct to 11 more than notes
and I mean there's many saxophone
players who know all the hip the
Brecker notes but it just doesn't sound
as good
you know it's a great player but his
time is nowhere near as good as
breakfast and records you know got the
thing in a way that well even though
actually is probably more harmonically
creative correct I mean he knows more
than just about anybody in terms of
how to do that thing we Marceline it
comes across more because of this room
because records rhythm is just like I
mean it's like a truck you know going
downhill I mean it just it's just
fantastic and and that kind of rhythm
feel is absolutely the hardest thing to
get on a guitar because because we have
such a small dynamic range relative to
those guys how did you develop it just
one dimension moment yeah and playing a
lot I mean you know I probably played
more hours per day than you know most
people ever get the opportunity to I
mean I just have had lots of chances to
do
and I'm also very aware of what makes
something or I try to be aware what
makes something have that kind of feel
and it was pretty clear to me that the
difference between like West Montgomery
and Jim Paul and everyone else was good
and that was pretty easy to see early on
I mean the way plays rhythm is would be
unacceptable on any other knees I mean
just wouldn't have it then it would
sound stiff and and most guitar players
have that that kind of phrase it's a
it's a phrasing that if you were to
imagine in your mind Clifford Brown or
somebody pointing and it wouldn't be
believable and you know the best thing
you can do is just really listen a lot
to people who've got great time and try
and get that same field but the people I
listen to it like one first miles train
tons of money recurring thing is on
mostly what miles and train it is a lot
of years setting Robbins as good to
listen to also because his lines had to
be easy to play on the guitar I mean
they're not a lot of coal trench it is
so hard just to execute on a guitar
because of all the
the leaves and all that and also his
thing was so just his Sam and he had
another thing which is his sound was so
unbelievable that the way some guys can
get away with playing something that's
maybe not that effective just on a
technical level but it's got the thing
rhythmically he's also got that plus his
sound was so like quick you know pure
everything that he could just point went
no which I mean to never get that same
thing off you talk percent it's because
yeah yeah Sonny's thing is very
instructive I mean because also another
area that a lot of guitar players aren't
so good at is is key minute going for
long stretches I mean like where you
take one little idea and just make it
last from old civil order
have a tendency to because the
guitarists are mechanical to
land with something specific and sunny
is really great to listen to to
discipline of making a little out of our
making a lot out of the little and also
rhythmically he's got the I mean in a
way I mean for me more than almost
anybody trying to emulate his way of
flying help me on the guitar so yeah
when you were to go back and you're
thinking party shots and things are you
thinking also are extensions off of
those absolutely so when you play a
sudden or so I like running third fifth
V exactly and that is where that you
would play that the route at all I mean
think of the third and seventh and
extensions of that that's we can think
then like altered extensions
and that's what all that coal transit is
all it's just it's generally five but
down and seven chords in tritone
substitutions with each other with all
of the extensions available all the time
I mean it's hard to find notes that he
played that didn't fall into that
category in terms of down seven chords
with two
and all the extensions available all the
time
food it all ties in you're saying more
regulatory come yeah I mean especially
just a little bit that I heard it from
you now I mean I think all that harmonic
information and stuff that you can learn
and you can get it together all that
sort of thing the rhythm thing is
something that is going to be very
difficult I mean it's because of your
instrument it's really hard to get on
the guitar and it seems like you're
quite a bit further away from that than
you are from the harmonic day that I
don't say that's like a major project
for you to really good so that there's
there's a sense of rhythmic definition
and rhythmic power that is underneath
everything and and it's not something
you can do by yourself either I mean you
really have to do it in in the context
of butyl volume with it
by yourself in a room
and
you know it just I mean it means hours
of playing every day with somebody who's
really good and we
also got that as a priority that sort of
rhythmic weight I mean short applying
when they get drama plan with drop
machines is that it's something that we
have available to us now that people
younger than us did because these things
you know have God all that and he crank
them out loud I mean so I plan with the
real thing to a large degree at me and
in terms of rhythmic precision I would
say it's better to play with that than
to play with a bad drum
can we try to write a couple more
courses within the term sure had another
girl
you have tendency also to to land on
notes that are not strong house
harmonically you'd be really disciplined
to play with something like this playing
real simple
that's like you I'm very nothing real
fancy happening there but that somehow
says a lot about the harmony and it just
it's interesting to listen to someone
that's more interesting to listen to
than a lot of bad stuff especially early
and solo playing simple is also the
hardest thing to do it's much harder to
do that than it is to but quite a lot of
scale type stuff so I recommend doing
that with the idea of seeing how it is
to land on real strong notes on strong
beats and there were times when I was
going to be landing on what evening
phrase is on the C minor for nobility
flats and I heard any natural and
that kind of thing I mean it gives the
impression it's sort of like as if
they're talking and you in the sentence
on you know I we're part of the rhythm
of the sentences are like you're saying
and you know or something like that as
opposed to like eating it with a period
like okay that's the end of that that's
of that I mean you know later you might
want to get it so that you sound sort of
wide staggered you know I you're kind of
like eating towards something you're not
quite getting to it but better to start
out with trying to make very clear very
concise kind of statements and that
thing of just playing like tones I
find real simple it is a good exercise
what's that rhythmically resigning
well rhythmically it still it sounds to
me it sounds like a guitar player and it
sounds like it sounds like you're not
really in it your pal kind of you're not
far off but you're not really in it's
like you're playing the same basic
rhythm but you're not like when the goal
for me is to get it so that you in your
quantum of the drum machine if you
ultimately don't hear drum machine it's
like the rhythms are so close they're so
precise that they cancel each other out
and that's that's a good I mean I'm also
very picky about rhythm much more than
most people you can talk to anybody
who's played drums in my DNA and I Drive
them and myself crazy about because I
really like to hear it perfect and I
have to say all the best players I mean
like when or Coltrane or Jim Hall or you
know I mean all the guys that I consider
to be great players you have a great
time I can't think
Sam or somebody we did Johnny it's it's
a it's a real important to give also
when you point like this kind of thing
this is true of a lot of younger guys
you know the ribs aren't it's not dented
edited edited edited it today
it's decades ago today with them there
they're all triplets and I'm hearing you
point dotted eighths and sixteenths a
lot that's not what it is all right back
while you're talking like two triples
right and what you're talking I mean you
should work on that because it's coming
out I mean virtually even eighth notes
they're not shorter or more staccato in
person they should be exactly same
phrasing even like that
you know I've never had anybody tell me
that yeah you know I mean this was I may
tell ya it's right but yeah yeah I've
just always been insanely well I mean
you know like ATS and I mean I can count
about for guitar players in the world in
history they had this kind of thing
they're just on e I didn't even want to
know I understand because it was great I
mean they don't seem like everybody's
always thinking harp on it
absolutely absolutely anything is I mean
there's there's hundreds of saxophone
players who have all the culture
harmonic down I mean down but you
don't hear after a while and the reason
is because that other thing isn't there
I mean I love here I mean I never mind
if somebody's kind of an imitator of
Coulter I mean that's not the thing that
bothers me about most of those kids what
bothers me is that is that the rhythm
thing is sort of floating I mean it's
like it's on top it's not in it
yeah
it's real important for Jas I mean and
it's you know I mean it's also I mean
it's it's weird to say this but it's
true there's very few white cats you can
do it I don't know it's true I mean
there's very few there's only a couple
and did you ever going to join Wichita
and change Van Buren what what gun
he's to play with him a lot at that
Zanzibar thought it was his gig and boy
he had he had the thing he really did he
also had no patience for climbing
unnecessary fashion which I was no
prompt
read me my rights
including warrant wasn't one
let's find Emma - maybe something like
you Nathan stop