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Wolf Marshall | 122 pages | 04 Jan 2010 | Hal Leonard Corporation | 9780634074431 | English | Milwaukee, United States Kenny Burrell | Discography | Discogs

His sessions were so numerous that just by concentrating on those for Verve artists he recorded with in , the following year with and in with Gary McFarland. It was in that Burrell got seriously busy with Verve sessions recording with and the Quartet, , and then with as part of his orchestra before a July session where he received co-billing with the organist on the that was called Blue Bash. Yet by the early s, his interests turned more to the world of academia, yet he still continued to record and may well have worked on over two hundred . Save my name, email, and website in this browser for the next time I comment. Search uDiscover Music. Features Latest News. Share Tweet. In the next lick, we will look at a Kenny Burrell chord phrase over a short ii V I progression in the key of F major. Here, you will see a common substitution that Kenny and other guitarists use, the II7alt chord over the iim7 chord. When learning how to play in the style of Kenny Burrell, one of the key elements to explore is mixing chords and single-lines during each phrase of an improvised chorus. In this section, you will learn a solo over an F jazz progression. Learning a solo from memory is a great way to digest the material in that improvisation, but there are also other exercises that you can use to continue your study of this material in the woodshed. Here are 3 ways that you can continue your study of this Kenny Burrell blues solo as you dig deeper into the concepts in this solo in the practice room. Play the solo with a backing track over the first chorus, during the second chorus you improvise the single lines but keep the chords as is. Continue this alteration throughout the backing track. Write out your own Kenny Burrell-inspired solo over a blues progression, using the blues scale for the single notes, and small, three-note chords for the comping sections of the solo. Practice singing an improvised single-line where you see the single-notes in the solo above, then comp the chords on the guitar where they land. This is a great way to connect your ears and voice to your fretboard while working on a minor blues solo at the same time. Please log in again. The login page will open in a new tab. After logging in you can close it and return to this page. Rob JZ says:. Close dialog. Session expired Please log in again. Follow guitarstuff. Kenny Burrell - | uDiscover Music

Feb Tivoli Theatre, Chattanooga , United States. Discover more upcoming concerts. Sort by Overall Rank Num. Charts Avg. Rating Num. Ratings Release Date Title. Midnight Blue. Kenny Burrell. Buy album. Introducing Kenny Burrell. A Night At The Vanguard. All Day Long. All Night Long. Asphalt Canyon Suite. . The Road To Love. Total albums: Page 1 of 3. Chitlins Con Carne. Soul Lament. Kenny's Sound. Wavy Gravy. Saturday Night Blues. Showing all 4 ratings for this artist. Kenny Burrell favourites Please log in or register if you want to be able to add a favourite. Let us know what you think of this artist by adding a comment or assigning a rating below! Log in or register to assign a rating or leave a comment for this artist. If you enjoy our site, please consider supporting us by sparing a few seconds to disable your ad blocker. We work very hard to ensure our site is as fast and free! A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :. The Beatles. Pink Floyd. 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. The next phrase is based on the F minor blues scale over an F7 chord. The difference between the minor pentatonic scale of lick 3 and the minor blues scale is the blue note a b5. Playing a 16th note followed by a dotted 8th note, rather than two 8th notes as most players will do, is something that Kenny used a lot in his soloing ideas. You can see and hear that legato style in the lick below, which uses a slide on the way up and on the way down the lick which is played over an F7 chord and uses an F minor pentatonic scale in its construction. In this blues lick, you can see three 8th-note triplets being used to outline a blues scale lick over an F7 chord. As you take this idea further in your playing, try applying both enclosure variations to various notes of any arpeggio or scale that you are using in your solos in order to hear how this concept can spice up any melodic line you are playing. In this ii V I line, you can see Kenny Burrell using a b13 interval to create tension over the C7 chord during the V7 section of the lick. This scale is called the Mixolydian b6 scale aka Mixolydian b13 and is the 5th mode of the melodic minor scale , so it is like using F melodic minor over C7. Here is an example of the triplet rhythm being applied to a ii V I progression, blending the Burrell blues rhythm approach to a ii V I progression. In a commonly used sound, Burrell likes to place the triplet between the 2nd and 3rd notes a half-step interval of the iim7 chord. Adding a triplet in this fashion is a great way to bring a bebop rhythm and melodic sound to your playing. In the next lick, we will look at a Kenny Burrell chord phrase over a short ii V I progression in the key of F major. Here, you will see a common substitution that Kenny and other jazz guitarists use, the II7alt chord over the iim7 chord. When learning how to play in the style of Kenny Burrell, one of the key elements to explore is mixing chords and single-lines during each phrase of an improvised chorus. In this section, you will learn a solo over an F jazz blues progression. Learning a solo from memory is a great way to digest the material in that improvisation, but there are also other exercises that you can use to continue your study of this material in the woodshed. Kenny Burrell - Licks and Solos

Watch list is full. Longtime member. This amount is subject to change until you make payment. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab. Item location:. Worcester, Massachusetts, United States. Ships to:. United States and many other countries See details. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab This amount includes applicable customs duties, taxes, brokerage and other fees. Estimated between Sat. Delivery times may vary, especially during peak periods. Special financing available. Earn up to 5x points when you use your eBay Mastercard. Learn more. Any international shipping and import charges are paid in part to Pitney Bowes Inc. Learn More - opens in a new window or tab International shipping and import charges paid to Pitney Bowes Inc. Learn More - opens in a new window or tab Any international shipping and import charges are paid in part to Pitney Bowes Inc. Learn More - opens in a new window or tab Any international shipping is paid in part to Pitney Bowes Inc. Learn More - opens in a new window or tab. Related sponsored items Feedback on our suggestions - Related sponsored items. Report item - opens in a new window or tab. Seller assumes all responsibility for this listing. Item specifics Condition: Used: An item that has been used previously. See all condition definitions - opens in a new window or tab Read more about the condition. Online Music Records and More neatthings4u2 Shipping and handling. There are few players that have had a longer and more influential career than the great jazz guitarist Kenny Burrell. 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. Download now and learn chord shapes! Here is a fun and classic-sounding Kenny Burrell lick that is based on the Eb major pentatonic scale, used over an Eb7 chord. 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. The next phrase is based on the F minor blues scale over an F7 chord. The difference between the minor pentatonic scale of lick 3 and the minor blues scale is the blue note a b5. Playing a 16th note followed by a dotted 8th note, rather than two 8th notes as most players will do, is something that Kenny used a lot in his soloing ideas. You can see and hear that legato style in the lick below, which uses a slide on the way up and on the way down the lick which is played over an F7 chord and uses an F minor pentatonic scale in its construction. Kenny Burrell. Buy album. Introducing Kenny Burrell. A Night At The Vanguard. All Day Long. All Night Long. Asphalt Canyon Suite. Guitar Forms. The Road To Love. Total albums: Page 1 of 3. Chitlins Con Carne. Soul Lament. Kenny's Sound. Wavy Gravy. Saturday Night Blues. Showing all 4 ratings for this artist. Kenny Burrell favourites Please log in or register if you want to be able to add a favourite. Let us know what you think of this artist by adding a comment or assigning a rating below! Log in or register to assign a rating or leave a comment for this artist. If you enjoy our site, please consider supporting us by sparing a few seconds to disable your ad blocker. We work very hard to ensure our site is as fast and free!

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HighNote Records buy. Tenderly HighNote Records buy. Prime: Live at the Blue Note buy. Be Yourself Blue Note buy. Prime - Live at the . guitar. Joe Pass guitar. Kurt Rosenwinkel guitar. guitar. guitar. Jimmy Smith organ, Hammond B3. guitar, electric. Grant Green guitar. Horace Silver . Tal Farlow guitar. saxophone, tenor. Wynton Kelly piano. saxophone. Charlie Byrd guitar. saxophone, tenor. Last Updated: October 2, Buy Now. Shop Amazon. All About Jazz needs your support Donate. It was the worst economic downturn in the history of the industrialized world. Despite the Great Depression, Hollywood and popular film production flourished. Radio was the main source of entertainment, information, and political propaganda, and jazz, blues, gospel, and folk music, became immensely popular. Discover what happened on this day. Kenny Burrell is part of the Silent Generation, which followed after the G. As young adults during the McCarthy Era, many members of this generation felt it was dangerous to speak out. You can also find out who is Kenny Burrell dating now and celebrity dating histories at CelebsCouples. While we don't know Kenny Burrell birth time, but we do know his mother gave birth to his on a Friday. People who are born on a Friday are social, have self-confidence, and and a generous personality. They have a flair for beauty, elegance, romance, affection and refinement. Like many famous people and celebrities, Kenny Burrell keeps his personal life private. Once more details are available on who he is dating, we will update this section. The year-old American guitarist has done well thus far. Zodiac Sign : Kenny Burrell is a Leo. People of this zodiac sign like to be admired, expensive things, bright colors, and dislike being ignored, facing difficulties, not being treated specially. The strengths of this sign are being creative, passionate, generous, warm-hearted, cheerful, humorous, while weaknesses can be arrogant, stubborn, self-centered, lazy and inflexible. Do you consider either of those albums career-defining? I see imperfection in all my records so for me none are definitive. But for convenience you could start with Guitar Forms; that gives a broad view of what I do. I did a variety of music — blues, flamenco, classical, bossa nova, Latin, folk, and modern jazz, pieces with a large ensemble and small combo with electric and acoustic guitars. What were your experiences with ? My group was popular in town, so we backed her a few times. I think we had pianist in the . Billie liked the way I played and that I was sensitive to the lyrics. I tried to complement her and not get in the way of her music. We became friends and had mutual respect. I also played on a number of her records, including the last one, . She influenced a lot of people. Not only jazz singers but pop singers, including and . That was years before the Florentine cutaway on the L-5 and Super How did it come about? They did it reluctantly. I played that guitar for a while, but it was too heavy. The Super feels perfect for me. Do you still have them all? I have two — both have two humbuckers and the Florentine cutaway. I got my main one in San Diego many years ago. I wandered into a shop — maybe for some strings — and saw it. I did have another at the time, but that one became my primary instrument. Do you do anything special to your Super to personalize it? I adjust the action at the bridge so the strings are lower on the bass side. And I have done things to cut down on feedback. I placed some foam rubber inside the body at the top f-hole and also put a surface plug on the f-hole. It deadens the guitar just enough to reduce feedback. I also screwed a little piece of plastic into the top to hold the bridge in place. Sometimes, I play hard and the bridge moves a little. I cover the plastic with a piece of tape. I also installed tuning keys with peg-winder handles. Heritage did a nice job of capturing the qualities I like. The Super KB is a little different. The body has a little more curve-around; they did it by making it thinner up near the neck. It has a finger tailpiece, like on my custom L I love the way it looks and that I can adjust string tension for each string separately. I set it medium and occasionally loosen a string a little bit here and there. What are using for amps these days? I prefer a Fender Twin for the most part. I was one of the first to use a Twin; I got one in Detroit and liked the extra bite. I like a fat, warm sound, so I set the Treble lower, the Bass medium, and pump up the Middle. We met at a jam session at the Bohemian Caverns. He was this dynamic new voice on the organ — nobody had heard anything like that before. I went to see him and he asked me to sit in. , of , was in the audience. He wanted to record me with Jimmy. Jimmy and I made many records together. We both knew a lot of songs; we hardly ever had rehearsals and there was very little preparation. We just talked over a song or he might mention a tune he wanted to play. We did most of it on the spot. He always wanted me to play with him if possible, which was rough on the guitar players in his working bands. That was also on Blue Note — we all knew each other there. He was a tremendous composer. I was so happy to have Horace on that record, as well as Hank Mobley. You also worked with . Yes, in They offered me the job that night. I went on the road with them for about six months. It was an enlightening and growth-inducing experience, playing with those two giants. I learned about making music with a trio and working with guitar and piano. The main thing is to listen and complement each other — do whatever will make the music work. I was glad I could handle it. I also learned a lot about life on the road, how to cope. I sometimes roomed with Ray. He got up early and started practicing; that was his routine. And mine, too, as a result. And, I took up golf. He always had a great piano there. He gave me one night — a Monday night or something. The second week we recorded live for Cadet. That was a dream fulfilled because it had been in my mind for a long time and felt I could do it well. If you do, things will flow. But I do love that format. In retrospect, it not only affected jazz players but also rock players. You had a close association with Wes Montgomery. I was very close to Wes and his brothers. I met Wes when I was a teenager in Detroit. He and his friends used to drive from Indianapolis to hear me play. I had no idea of who he was or his ability. We just met and talked, a couple of guitar players who liked each other.

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