Jazz Festivals » Modern Jazz

How to Get That "Gospel Feeling" Using Jazz Chords

admin — Tue, 23 Mar 2010 12:23:49 +0000

Does the cold, cerebral feel of modern jazz leave you cold? Maybe you’d like to have a little bit of “gospel” in your jazz? Maybe you just want to take an old hymn and give it some updating. Then you’ll need to load yourself with an arsenal of gospel jazz chords.

Gospel jazz chords involve extending the dominant seventh chord with additional tones. The ninth, 11th and 13th chords are all used in gospel jazz. These are extensions of the basic dominant seventh chord. If you don’t know how to form a dominant seventh, here’s the rundown.

The dominant seventh is formed by taking a basic triad, which is 1-3-5, and adding a b7. In the key of C, you would play the notes C, E, G and Bb. The C chord is formed by the C, E and G. The major seventh is B, so you would lower it a half-step to get Bb. Play this chord and notice how it brings to mind some great blues and jazz. The C dominant seventh chord is written as C7.

Now you’re going to learn a bit more theory to understand gospel jazz chords. Since the notes of a major scale are numbered 1-7, where does the ninth tone come from? It comes from extending the scale beyond one octave. After the seventh tone of the scale comes the root, which is considered the eighth tone of the scale. So the ninth tone is the second, only an octave higher. To form a ninth chord, take a dominant seventh and add the ninth.

The 11th and 13th chords are formed in a similar fashion. The 11th tone of the scale is just an octave above the fourth, while the 13th is an octave above the sixth. The 13th is one of the most used gospel jazz chords. By extending chords to these extremes, you’ll hear some interesting tonalities and overtones develop in a well-tuned instrument.

Since every note of these chords is easily played on a piano, the resulting sound may get a little muddy. Some of the tones create a clash with other tones. A clash is when two notes that are a half step apart are played together. Sometimes a clash is useful, while at other times it isn’t. For these reasons, less important tones are often left out of extended gospel jazz chords. Take the ninth chord, for example. The fifth is often dropped from the chord to create a cleaner emphasis on the third, seventh and ninth tones of the chord. Try it and hear the difference.

Though it all seems a bit complex at first, the simple theory of gospel jazz chords comes naturally with a little practice. Try these chords in different keys, leave out different chord tones, and find out what gospel jazz chords sound best to you. These chords are useful in other jazz styles, as well. Even popular music today makes slick use of extended gospel jazz chords. Tasteful use of these chords can spice up even the most ordinary of hymns and gospel songs.

By: Duane Shinn

How To Get That “Gospel Feeling” Using Jazz Chords

admin — Fri, 11 Dec 2009 05:53:57 +0000

By: Duane Shinn

How Jazz Got Started

admin — Mon, 09 Nov 2009 10:41:21 +0000

Though many associate the birth of jazz music with the city of New Orleans, its origin may be a bit more ambiguous. Like many other musical forms, jazz evolved over a period of years. Many believe its evolution took place over decades. It’s widely agreed, however, that jazz music as we know it today was born in the southern United States. It is also accepted that it developed from a variety of different influences, culminating in a style that became its own genre.

Jazz’s major influence probably came from African slaves brought to the United States in the 1800s. In fact, African music influenced many styles of music, including rock and roll. The form that evolved into jazz consisted specifically of call-and-response singing, syncopation and improvisation. Ragtime, which may be considered a precursor to modern jazz, drew upon many of these elements.

Ragtime music originated after the emancipation of African slaves. The newfound freedom of slaves was bittersweet. Though freedom was deserved and appreciated, there were few job opportunities for freed slaves. Many had no means of self-support, and some simply stayed on with their former owners. Others supported themselves through musical performance. Often, this meant performing in dubious locations, like brothels and minstrel shows.

It was these types of venues that gave rise to ragtime, which enjoyed a brief period of popularity in the late 19th and early 20th century. Talented ragtime musicians like Scott Joplin were generally recognized much later for their contributions to modern jazz.

Though ragtime only graced the music scene for a few years, it influenced what would become referred to in 1915 as jazz music. While the actual origin of the term is uncertain, the name stuck. Cities like New Orleans have since become synonymous with jazz. This is not necessarily because it originated there, but because its musicians have added a distinct flavor to jazz music. Dixieland jazz bands still largely dominate the musical culture of New Orleans. Thanks to modern artists like Louis Armstrong, Winton Marsalis and Miles Davis, Dixieland-style jazz continues to enjoy mainstream popularity.

Once jazz music became labeled as such, more variations developed. Swing was one of those, which saw its height in the 1930s. Swing greats like Count Basie, Benny Goodman and Glenn Miller are still covered by today’s musicians. Although swing isn’t the genre it once was, it still has a big following today.

Because of its early association with brothels and speakeasies, jazz music had a stigma to overcome in its early years of development. Eventually, jazz became an accepted art form. Today jazz is embraced and taught as its own branch of music.

Jazz music is most distinguished from other musical forms for its reliance upon improvisation. The best jazz musicians have gained notoriety for their ability to play without the aid of written music.

They are able to make up music on the spot and off-the-cuff. It’s entirely possible for a song to be different every time it’s performed. This may be one reason that jazz fans believe that the most talented of the world’s musicians are not classical musicians, but purveyors of jazz.

By: Duane Shinn

Play Jazz Now

admin — Wed, 30 Sep 2009 17:01:49 +0000

Getting that jazz sound can be a complex process. It is impossible to say who have the greatest jazz tone and sound as we are all different and are subjective in our listening. What I’m about to share with you acts as a general guide in the area of getting that jazz tone and should be improvise upon should you feel like it.

The Guitar

For an authentic jazz tone, you should have a semi-acoustic hollow body electric guitar. The Gibson ES-175 or the Gretch Tennessean can run into thousands of dollars but there are also excellent entry models such as Ibanez Artcore line of guitars. Guitars by Yamaha or Guild also make great entry level semi-acoustics. Epiphone, owned by Gibson are designed for the aspiring musician to own a Gibson but lack the budget to do so. What you get is a fantastic sounding guitar made by Gibson but at a much much lower price. Look for a guitar which provides a clean tone with plenty of sustain.

Jazz guitar players often plays with a rich mellow tone that is suitable for the style. Roll off the treble on your guitar’s controls to achieve that.

A Jazz Guitar Amplifier

The playing style and sound that you wish to attain will determine the amp you need. Very often, traditional jazz guitar players uses solid state amps that can produce a clean sound which compliment acoustic arch-top guitars. For others seeking a more distorted sound, a tube amp might be just what you are looking for. Many jazz guitarists use a Fender Pro or a Polytone. On board effects maybe another requirement you are looking for. This can range from a overdrive channel to a reverb channel.

Effect Pedals

A hint of reverb is all you need if you are one who does not want to meddle with effects. However, many modern jazz guitar players today includes an arsenal of effect pedals in their effects chain ranging from chorus, overdrive, distortion and even wah-wah pedal. A word of advice. When using effects, ensure they compliment your playing style and that you retain that “clarity” in your tone. Many guitar players often make the mistake of cluttering their guitar tone with too many effects which results in a poor quality muddy sound.

In summary, listen, listen, listen. Listen to recordings by all the jazz guitarists. Listen closely to their sounds and try to emulate them. When done enough, you’ll be able to find that unique tone in your guitar sound which you have crafted. Congratulations! You have found your very own signature sound!

By: Andy Ng

10 Top Jazz Guitarists

admin — Mon, 24 Aug 2009 23:47:04 +0000

Some of the most influential and innovative guitarists have emerged from the world of Jazz – often with breathtakingly fast technique and intricate phrasing – Jazz maestro’s can match anything that rock and roll can produce – indeed the Jazz genre has been popular for almost 100 years and from trad jazz to new world fusion pioneers they are a diverse breed producing a wide spectrum of sound.

So what makes a great Jazz guitarist? Flamboyance – technique and a dash of magic – our top 10 list features guitarists who have their own unique styles and sound – often mimicked but never matched. Want to get into Jazz guitar? Well check out these ten great players.

1. Joe Pass

With a career that spanned 50 years, including time spent with Frank Sinatra, Dizzy Gillespie and Herb Ellis – Pass became renowned for his solo style that utilized complex finger picking technique coupled with a deft left hand phrasing. With an Epiphone signature guitar released in his honor – Pass is a true great

2. Pat Metheny

Part of the modern Jazz set – Metheny is a real innovator on guitar – mixing a broad palette of musical influences from rock to folk, orchestral and traditional Jazz. Hard to pin down with a specific technique but with influences from Joe Pass to Wes Montgomery he’s has a career that spans 30 years and remains highly regarded.

3. Les Paul

One of histories most important guitarists. Central in the development of the modern guitar and recording techniques. It was however as a Jazz Guitarist that he became famous – with a fast fluid style reminiscent of the great Django Reinheardt but with a distinctive country twang he’s blazed a trail throughout his career – the fact that Les Paul still played to audiences in his 90’s is testament to how important this man is.

4. Wes Montgomery

Montgomery played with a distinctive style – discarding the use of a pick he played with mostly with his thumb resting his fingers on the guitar’s body. With intricate phrasing including use of Octaves – Montgomery sound is easily distinguishable – despite a career that was cut short at the tender age of 43 – Montgomery still had time to record a string of hit Jazz albums and influence a wealth or artists.

5. Charlie Christian

Hugely influencial in the Jazz genre and one of first mainstream Electric Guitarists but with a frustratingly brief career (dying at the age of 25) – renowned for his playing with the Benny Goodman orchestra in the 30’s and 40’s

6. John Mclaughlin

Incredible Jazz Fusion artist – part of the Mahavishnu Orchestra fusion group in the 70’s. With a blinding fast technique and influenced by world music sound – McLaughlin is a unique voice in the world of Jazz.

7. Herb Ellis

Reaching the Jazz audience with his stint with the Oscar Peterson trio in the ‘50’s Ellis has continued to record and play with a range of artists – with a fast – fluid but still melodic style – Ellis has a distinctive voice in the world of jazz guitar and inspiring tecfhnique.

8. Charlie Byrd

Grammy award winning and with a career that spanned 40 years – classically trained Byrd was heavily influenced by the South American bossa nova sound made his name playing with Stan Getz during the 1960’s -

9. Kenny Burrell

With a style that marries a soulful technique with a love of bebop, Burrell has played with a bucket load of greats including Dizzy Gillespie, Stan Getz and Benny Goodman – with a treasure of over 40 albums and career spanning over 50 years Burrell is a true Jazz master

10. Django Reinhardt

No list of Jazz guitarists would be complete without mentioning Django – with a Gypsy upbringing and musical influence he had a fascinating technique which involved picking close to the bridge and one string solo’s – influenced by few but influencing many – he remains perhaps the most important Jazz Guitarist of all time.

By: Adrian Martin

Finding A Good Amp For Playing Jazz Guitar

admin — Thu, 20 Aug 2009 09:15:58 +0000

Jazz guitar talk is generally focused around one thing – sound. The tone of your instrument will play a huge role in the sound that you achieve. If you are engaging in live performances, and jam sessions, no doubt you will be using an amplifier too. Finding a good amp for playing jazz guitar is just as important as finding a good guitar. Let us avoid discussing which amps are “better” than others, and get down to the important issues you need to focus on when you are looking for a good amp for playing jazz guitar.

Traditional Jazz

Players who are concentrating on developing a traditional jazz sound are going to be looking for just one thing in a guitar amp – a clean sound. If you want a traditional, clean jazz sound, then you will commonly gravitate toward a solid state amp or a tube amp. Solid state amps are easier to care for than tube amps, they are less prone to damage and most importantly they deliver clean, distortion free sounds on a regular basis. This is what makes them extremely popular among jazz guitarists. The biggest complaint about solid state amps is that they tend to sound “flat” and elicit little life from the tone of the instrument. Tube amps, on the other hand, are believed to deliver a much warmer tone, and some players insist that their sound is more alive when they use a tube amp. Unfortunately, tube amps are prone to distortion, typically something traditional jazz guitarists want to avoid at all costs. Despite their expensive maintenance bills and extreme weight on the move, tube amps are exceptionally popular, for those who favor the clean, traditional sounds of jazz as well.

Contemporary & Modern Jazz

For the more modern and contemporary jazz guitarist, a good amp may come in many shapes, sizes and forms. Players who are looking for a more mixed up and funky modern vibe in their sound will regularly employ effects and alterations. They might be more inclined to own and perform on a solid body electric, and may gravitate toward amps with more bells and whistles. Digital amps are increasingly popular for modern jazz. Modern jazz guitarists may also be dabbling in other genres, and digital amps are extremely effective in other arenas of music as well, thus it is a very practical choice. These players are going to want a lot of on-board effects at their fingertips, and a digital amp provides just that.

Industry Standards

Within the world of jazz, there are several amps that have emerged as industry standards. This includes the Fender Pro, often heralded as a good amp for playing jazz guitar due to its extremely clean sounds and lack of distortion.

It is unfortunate that manufacturers do not produce amps that are labeled “jazz guitar amps”. This means you will need to spend a lot of time listening to others, and trying out amps in order to find your own signature sound.

By: David Smithe

The Story of the Jazz Piano Style

admin — Sat, 08 Aug 2009 16:36:23 +0000

When people think of piano music, they tend to think of classic pieces. Jazz piano is a style that is obviously unique, but also technically and soulfully superb.

The story of the jazz piano begins with a man named Jelly Roll Morton, a town called New Orleans, and a type of music called ragtime. Joseph Ferdinand La Menthe (Jelly Roll Morton) was known throughout New Orleans as a musician that could play just about any type of music. Jelly Roll enjoyed entertaining crowds with his ragtime, jazz, and blues combinations, and he often played to a roaring crowd throughout New Orlean’s Redlight District.

The song “Jelly Roll Blues” was the first jazz compilation every published (1915), and this catchy tune really put both Jelly Roll and the jazz piano on the musical map. There is no debating the fact that Morton was the original father of jazz piano, and he is entirely responsible for the jazz piano tunes that we know and love today. If you have heard this great musician play, you may be interested to know that a fantastic recording of his is currently at the Library of Congress. This recording was the last one that Morton ever did, and it is one of the best recordings in history.

When the 1920s rolled around, jazz music took a whole different turn, and the streets of Chicago and New York City were vibrating with the sound of a rolling piano. During this time, New York musicians were tapping the keys to a style called “Harlem Stride,” and many attribute this type of music to James P. Johnson (1891-1955). The story of jazz piano really started to crank up when Harlem grabbed a hold of the instrument, and though many have tried to duplicate this sound, jazz music has not been the same since.

If you enjoy listening to modern jazz, take the time to discover Jelly Roll and Johnson – you’ll be pleased that you did. Whether you want to play the piano, or whether you simply love to hear those sweet chords chime, those that were true piano pioneers are still the best the world has every heard.

There can be no history of the jazz piano without the mention of New Orleans, Harlem, Chicago, Jelly Roll Morton, and James P. Johnson – the men, the music, and the piano all combine throughout time to create a sound unlike any other. Stop for moment, listen to those old recordings, and then ask yourself whether or not you can hear that good old piano truly roll.

By: Aazdak Alisimo

How Jazz Got Started

admin — Sun, 02 Aug 2009 07:57:45 +0000