KENNY BURRELL TRANSCRIPTIONS PDF

Burrell has inspired countless guitarists to make the switch from blues and rock to jazz with his own unique style of blues and bebop inspired playing. Kenny Burrell has been a high-in-demand guitarist during his entire career. By studying these licks and applying them to your own jazz guitar solos, you will be able to insert a bit of the blues and bebop vocabulary that has made Burrell a favorite among jazz guitarists. Lines like this, simple yet great sounding phrases, are what launched Kenny Burrell to worldwide success back at the start of his career. While they are easy to play, they are deceptively tricky to nail in a solo at the same level as Burrell.

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Hailing from Detroit, Michigan, he grew up with a whole cadre of equally legendary figures who would define s jazz including the Jones brothers Thad, Hank, Elvin , Tommy Flanagan, Yusef Lateef, and Paul Chambers, among others. His style was hewn from electric blues, original proto bebop and classical guitar in almost equal measure. The result was a sound that was at once refined and raw, eloquent and boisterous.

He could play beautiful unaccompanied chordal passages, frenetic single note barrages, supple blues vamps and swinging bebop lines - all these ideas being superficially disparate, yet clearly coming from the mind of a player with a clear idea of what he wanted to sound like.

A much in demand studio musician, his recorded output is huge. He played on countless pop albums in a time when jazz musicians often worked in this milieu. The lines between pop and jazz were blurry and indistinct in the s and early 60s. This position evolved out of a course he has taught since called Ellingtonia.

But the guitar he is most associated with is the Gibson Super He also has a signature model built by Heritage that is essentially a Super model. Most of his s recordings were done with his Fender Deluxe amp. Also known as the Tweed Deluxe or 5E3. This amp has distinctly musical overdrive and compression characteristics and emphasizes mid range frequencies.

He would later favour the Fender Twin Reverb. Burrell was a central figure in this music and his playing reflects that. Detroit spawned a whole generation of musicians who would define the genre s.

Kenny Burrell concurrently absorbed and influenced this language as it was being created. He was there. Fiery pentatonic runs, subtle vibrato, block chord passages, lyrical glissando and pull-offs were all delivered in an assured and fertile rhythmic vocabulary with a gorgeously round tone.

Perhaps this little top-5 list will help you get started!

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Kenny Burrell transcriptions

Hailing from Detroit, Michigan, he grew up with a whole cadre of equally legendary figures who would define s jazz including the Jones brothers Thad, Hank, Elvin , Tommy Flanagan, Yusef Lateef, and Paul Chambers, among others. His style was hewn from electric blues, original proto bebop and classical guitar in almost equal measure. The result was a sound that was at once refined and raw, eloquent and boisterous. He could play beautiful unaccompanied chordal passages, frenetic single note barrages, supple blues vamps and swinging bebop lines - all these ideas being superficially disparate, yet clearly coming from the mind of a player with a clear idea of what he wanted to sound like. A much in demand studio musician, his recorded output is huge. He played on countless pop albums in a time when jazz musicians often worked in this milieu.

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Solo Transcriptions (Guitar)

Leave a reply You probable know Kenny Burrell from his most famous album Midnight Blue and his playing is almost always full of blues phrases. In many ways it is quite simple and easy to play but has a very sophisticated layer with how he uses the blues something that we can probably all learn from. Kenny Burrell and Blues Phrasing In this video I am going to show you how he uses blues on a standard and also how he does some really surprising things with the notes and really creates and emphasizes some great outside tensions with the blues phrases. Treating almost like an altereation that he can move to and also incorporating the melody to create both tension and release. It might seem really simple but it is actually very clever how he does this. Some of the examples in this video are a bit long, but Kenny Burrell uses a lot of space and the phrases are often also quite long stretching several bars.

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Kenny Burrell

Porque cantando se alegran, cielito lindo, los corazones. As teenagers, I think that we all began to make-up stories about wild adventures driving to Tijuana, spending a night there, getting into lots of trouble, and narrowly escaping to return home. Obviously something that is much more resonant with my musical leanings. It was a brilliant and eminently musical idea. Obviously, this arrangement has its roots in some area of Latin music, and, of course, it is being performed by a group of wondrous players that includes no Latinos. When great musicians come to live, work and grow in New York, they are all surrounded by the music of multiple cultures on a daily basis, and the influences of all that music going on manages to infiltrate your consciousness and being, even if one is not paying any serious attention to it. Rafa and I seemed to be in agreement that, perhaps, the influence of Brazil, with an American swing to it, was actually more present than anything related, in a formal way, to Latin music and the clave.

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Kenny Burrell

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