George Benson The Art Of Jazz Guitar 2006 Dvdrip Dvd Pdf

George Benson: The Art of Jazz Guitar. Take a lesson in jazz and blues guitar from one of the true masters as eight-time Grammy award-winner George Benson covers everything from chord substitutions to the Wes Montgomery style in a release that truly lets the student take control of their lessons. George Benson: The Art of Jazz Guitar. Take a lesson in jazz and blues guitar from one of the true masters as eight-time Grammy award-winner George Benson covers everything from chord substitutions to the Wes Montgomery style in a release that truly lets the.

1. George Benson The Art Of Jazz Guitar 2006 Dvdrip Dvd Pdf Free
2. George Benson The Art Of Jazz Guitar 2006 Dvdrip Dvd Pdf Online

Appreciated as both musician and performer by millions, George Benson has always had the duel personae of expert improviser and vibrant entertainer. He has always placed his keenly discerning art in the service of a rousing good time. Rounding out his singular approach with sly, seductive rhythm and blues, he's earned himself an impeccable reputation as one of music's most enterprising and engaging stars.Few might have predicted that striking level of stardom some forty years ago, when Benson was a fledgling guitarist working the corner pubs of his native Pittsburgh.

That's where his yen to please a crowd was born. “I was an entertainer first,” he says proudly “As a kid I sang, danced and played the ukelele in a nightclub. As my career has progressed, I've had the pleasure of playing with the baddest jazz cats on the planet.

But that doesn't change my desire to entertain folks. That's really who I am.”It was Wes Montgomery, one of jazz's most creative players, who came across Benson early on; the vet complimented the young guitarist, urging him to continue his already impressive work. In the early 1960s, Benson apprenticed with organist Brother Jack McDuff; he found the organist's gritty swing a fertile ground for the sly, confident and adventurous guitar lines which earned him an early rep as a master.“Jack turned me on to a lot of stuff,” muses Benson. “A lot of the jazz tunes we played together were danceable, and that furthered my understanding of what people wanted. When jazz was danceable, it was king. The intellectual stuff that came later on - Charlie Parker and all that - turned toward a brainier sound. That was good, and I dug it.

But I really like when people kick up their heels and go crazy.”. Montgomery had called one of his best records Boss Guitar. Benson had both the conviction and chops to nip at his hero's heels; his 1964 debut was released as The New Boss Guitar. It lived up to its title. Benson's tone was juicy, and his blues solos sparkled with a carefully honed logic.

A jaunty funk and swing aesthetic prevailed. By the time legendary talent scout John Hammond signed Benson to Columbia, the guitarist's name was bubbling throughout the industry. His work for the label proved Hammond's hunch to be on-target: brains and flash were in perfect synch. “I'd sat down with a great blind pianist from San Francisco name Freddy Gambrel,” recalls Benson. “He turned me onto some wonderful ways to get in and out of chord changes and weld harmonies together. Of course I still wanted to be like Charlie Christian, Django Reinhardt, and Hank Garland - my heroes.

I've always liked the hot guitar guys.”Playing the combination won Benson access to all sorts of arenas. His work was boundless: in the late '60s he sat in on heady Miles Davis sessions, and also put a personal spin on the tunes from the Beatles' Abbey Road. Hooking up with the CTI label in 1970, he was united with many of jazz's finest instrumentalists, including Stanley Turrentine, Ron Carter, and Freddie Hubbard. His visibility and prestige grew even further. Classic albums, such as Beyond the Blue Horizon, abounded.

But after a while different ideas began to flow from Benson's muse. And the environment didn't seem right for growth.“I'd been screaming about my guitar sound for years, and they didn't want to hear about it.

I wanted to use my band in the studio, just get comfortable and test out some stuff. But it was like pulling teeth. The first time I tried to sing along with my guitar, everybody in the studio booed. They all said that it wouldn't work. When I got with Tommy LiPuma all that changed. He said 'Sure, let's go with some vocals, see where we get.' And you know what happened after that.” What happened was Breezin', the first jazz record to attain platinum sales.

The 1976 blockbuster, his first in a long association with Warner Bros. Records, brought the instrumental title track to jazz radio. And Benson's soulful update of Leon Russell's “This Masquerade,” which featured the guitarist scatting along with his solo break, was a pop smash. He followed up with a sultry version of “On Broadway,” and the irresistible “Give Me The Night,” which thrilled many a dancer. Benson was a superstar.Some old fans were miffed about this new pop success. “I guess that's the biggest crime I've made as far as jazz lovers go,” offers Benson. “They don't always like to see you play for the general public.

They want to be catered to. But I've tried that approach and it doesn't work for me. Nobody can stay one way for 30 years. I've always tried to let my experience show itself. You learn, you change.

The door opened and I walked through it.” Throughout the 1980s Warner Bros. And LiPuma followed their smash success with several terrific Benson records. Individually, they blended grooves and guitar work, proving that R&B was a natural part of Benson's profile. Collectively, they cemented his global renowned. The guitarist has won eight Grammies, played around the world, and thrilled many crowds with his playing.In the mid-'90s Benson followed LiPuma to the GRP label. Their association had proven artistically and commercially fertile; both wanted to sustain it.

Together they cut the 1996 gem That's Right. It offered a modern version of contemporary jazz that reminded its listeners Benson was one of the genre's forefathers.

These days Benson's interests are many. He's often spotted out at Manhattan jazz clubs, checking the action of fledgling guitarists.

The most impressive of the lot are sometimes invited back to Benson HQ for jam sessions and stylistic powwows. The guitarist is resolute about keeping the sparkle in his playing.“The younger cats awaken something in me from the early days. I love listening and playing with guys like Joshua Redman, Roy Hargrove, and Christian McBride. When they tell me I've still got the chops, I feel great.” Benson's latest GRP disc is Standing Together. It not only assures that his chops are sharper than ever, but suggests that his studio savvy is continuing to grow.

This time around, he uses elements of hip hop and Caribbean rhythms to keep his personalized R&B on the edgy side.“I'm not against ear candy,” he chuckles, “but I like mine to be significant, not just noises in the record. Some of those backing tracks on the new record are cool.

They give me little tidbits of sound to bounce my guitar lines off of.” Said like a open-minded creative type, which is exactly who Benson is. Unfazed by the constrictions of predictability, he's built a career on sniffing out what people enjoy hearing, and what he enjoys playing. “I had to break a couple rules along the way,” he reflects. “There was an unwritten law: be cool, don't get too raunchy. But jazz was once hanging-out music. And the easiest way to involve people is by getting 'em tapping their feet. When they're tapping a bit, they'll go your way.

That's when I can float any kind of jazz line into the music. Once the audience knows I respect them, they let me be whatever I want to be. I hope - no, I firmly believe - that will always be the case.”.

Khan's Korner 1 - Transcriptions by Steve KhanKHAN'S KORNER 1 is now the page on the site which will be dedicated to transcriptions, with the corresponding sound clips, along with an analysis provided by Steve. You can find solos by players such as Herbie Hancock, Wes Montgomery, Michael Brecker, Jim Hall, Kenny Burrell, Freddie Hubbard, Stanley Turrentine, George Coleman, Pat Martino, Clare Fischer, Chick Corea, John Scofield, Grant Green, Steve Grossman, Gabor Szabo, George Benson, Paul Desmond, Robben Ford, and Miles Davis in addition to some of Steve's solos. The sound clips will be in mp3 formats for the best quality sound at the smallest file size. Enjoy them with our best wishes!!    Over the years, I have received many, many e-mails asking me about just how one can get the best possible print-out of the transcriptions or the lead sheets. I have, in general, responded to everyone who has ever written me about this, but, it now seems like the perfect time to have a page at the site to which one can always refer, and then, hopefully, get the best possible results.

So, here is your step-by-step. I really hope that this helps! And now, as well, I can offer some personal advice on the art of!107.

'Careful'A wonderful Jim Hall presentation that features not only his solo over his own 16-bar blues from Gary Burton's 1963 recording, SOMETHING'S COMING(RCA), but also the lead sheet. And, as if that's not enough, we are also presenting a lead sheet to how he played this very same melody four years later, in 1967 during a live performance recorded and released as the BERLIN FESTIVAL - GUITAR WORKSHOP(Saba) Don't miss it!, and, Steve Khan.Soundclips - Original Melody Statement and Solo. 'While My Lady Sleeps'The last in a series of Michael Brecker solos that first appeared on CROSSINGS(Verve) in 1994 and now is part of the just released BGO Records(UK) reissue of PUBLIC ACCESS- HEADLINE- CROSSINGS remastered, and packaged together on 2 CDs. Performed over the Branislau Kaper-Gus Kahn obscure standard, here performed in 3/4, though it is still really an Afro-Cuban 6/8 feeling, Michael's solo is a masterpiece of melodic continuity, fire and development. All the propulsion necessary comes from this Eyewitness2 grouping that featured: Anthony Jackson(contrabass guitar), Manolo Badrena(percussion) and Dennis Chambers(drums). It seems that this particular performance has been enjoying a bit of a renaissance at Jazz radio, even after 25 years.

Listeners are finding it to be as relevant today as it was ahead of its time back then. So, rejoice in all that is glorious about Michael Brecker, and enjoy this solo to the fullest with our best wishes!and, Steve Khan.Soundclip. 'Descarga Khanalonious'Michael Brecker's monumental solo, first heard on CROSSINGS(Verve) in 1994 arrives with the just released BGO Records(UK) reissue of PUBLIC ACCESS- HEADLINE- CROSSINGS remastered, and packaged together on 2 CDs. This solo simply centered around an Eb7(9) sonority and Anthony Jackson's creative and conversational approach to tumbao features all the intricate interplay from this Eyewitness2 grouping that featured: Anthony Jackson(contrabass guitar), Manolo Badrena(percussion) and Dennis Chambers(drums) with a most special appearance by Michael Brecker(tenor sax). It is in the end a masterpiece of the unique conversational style that this group helped to create. It is hard to believe that this all took place nearly 25 years ago, but feels just as timely and vibrant today in 2018.

If one needs any further evidence of the greatness of Michael Brecker, just take the time to live with this solo, his brilliance in a foreign setting is unmistakable!and, Steve Khan.Soundclip. 'Descarga Khanalonious'This Steve Khan solo, that originally appeared on CROSSINGS(Verve) in 1994 arrives with the just released BGO Records(UK) reissue of PUBLIC ACCESS- HEADLINE- CROSSINGS remastered, and packaged together on 2 CDs. This 64-bar solo features all the superb interplay from this Eyewitness2 grouping that featured: Anthony Jackson(contrabass guitar), Manolo Badrena(percussion) and Dennis Chambers(drums), with a most special appearance by Michael Brecker(tenor sax). It is in the end a masterpiece of the superb conversational style that this group helped to create. It is hard to believe that this all took place nearly 25 years ago but feels just as timely and vibrant today in 2018. As John Kelman wrote in his recent review: ' Eyewitness is often lauded for its unique (especially for its time) language and approach, deeply felt grooves and stellar playing.

Still, the group's telepathic ability to engage with one another on a profound level must not be overlooked. Its intrinsic conversational ability, a definitive one.' And, Steve Khan.Soundclip. 'Think of One'To celebrate the BGO Records(UK) reissue of PUBLIC ACCESS- HEADLINE- CROSSINGS remastered, and packaged together on 2 CDs, we are presenting Steve Khan's solo, that originally appeared on CROSSINGS(Verve) in 1994. This 4-chorus solo was performed on Thelonious Monk's classic composition, and receives one of Steve's early Latin-influenced treatments driven by the interactive brilliance of Anthony Jackson(contrabass guitar), Dennis Chambers(drums) and Manolo Badrena(percussion). As Bill Milkowski put it in his liner notes: 'Hearing these records again reminds one of just how radically fresh and experimental they were when they came out 25 years ago.

There was no template for this sound back then. The spaciousness and misterioso vibe, the brilliant use of counterpoint between guitar and bass, the bizarro midi percussion floating in and out of the mix, all while still being grounded by an insinuating Latin undercurrent. It was unprecedented for the '90s.and there is still nothing quite like it!' And, Steve Khan.Soundclip.

'Stella by Starlight'Recently reissued on DANGEROUS(Milestone), finally we have a recorded version of Wes Montgomery soloing over this great standard. On this 1961 recording, Wes is accompanied by brothers Buddy Montgomery(vibes) and Monk Montgomery(ac.

Bass), and all driven by the drumming of Paul Humphrey. We're certain that you will enjoy Wes' 6-chorus solo, played in the key of Eb major rather than the more familiar key, at least to most, of Bb major. Don't miss out on this one!and, Steve Khan.Soundclip.

'Demonette'A 2nd Michael Brecker solo from keyboardist Neil Larsen's 1979 album HIGH GEAR(Horizon), and on another Larsen original. Once again, Buzz Feiten(Guitar) joins Abraham Laboriel(El. Bass); Steve Gadd(Drums); Paulinho Da Costa(Perc.) on this double-time Samba/Fusion-oriented track. Michael's solo here is really more about being right in the center of the flow of the time feel, and swingin' really hard!

To these ears, there is not one single note in this solo that ventures outside the harmonies, not one! How rare is that for a Michael Brecker solo? There is hardly any chromaticism within the solo. How rare is that? It proves one thing at the very least, if you play with aggressive and swinging time, you can play anything, and it's going to work - and, more than this, you can play completely inside, and have a monster of a solo! See if you don't feel the same way.and, Steve Khan.Soundclip.

'Nile Crescent'In 1979, keyboardist Neil Larsen recorded the 2nd of his two albums, HIGH GEAR(Horizon), and on that album, Michael Brecker contributed two brilliant solos, one was on the Larsen penned tune, 'Nile Crescent.' Buzz Feiten(Guitar), a fixture with Larsen joins Abraham Laboriel(El. Bass); Steve Gadd(Drums); Paulinho Da Costa(Perc.) and Joe Farrell(Flute) on the track. Michael's 22-bar solo, over a Phrygian mood, embodies all the wonderful qualities in his playing. As it has now been some 10 years since Michael left us, it only seems fitting to pay tribute to him again, and just how glorious his body of work remains. He was so very special. Hoping that everyone enjoys this solo to the fullest.and, Steve Khan.Soundclip.

'Invisible'This great Ornette Coleman composition from his 1958 album, SOMETHING ELSE!!!!(Contemporary), placed him in a rare musical setting with a piano. In some ways, that element made it easier to decipher what might have been going on back then, and easier to separate this arrangement from the original. This Steve Khan solo transcription, from the recently released BACKLOG(Tone Center) album, becomes the sixth in the series. The performance features the beautiful sound of Bob Mintzer's tenor sax, which adds so much to the melody statement, not to mention his own spectacular solo. Steve's solo picks-up where Bob left off, and explores open linear ideas mixed with some very creative Latin elements on guitar. Once again, in the analysis, a link is provided for those interested in seeing the keyboard parts written for Rob Mounsey.

George Benson The Art Of Jazz Guitar 2006 Dvdrip Dvd Pdf Free

In addition to his big tumbao, and great ensemble playing, Bobby Allende(Conga) contributes a tremendous solo as well.and, Steve Khan.Soundclip. 'Our Town'This rather obscure Frank Sinatra song, written by Steve's father, Sammy Cahn and Jimmy Van Heusen in 1955 for the NBC musical production of Thornton Wilder's play, the title song, becomes the fourth in the series of Steve Khan solo transcriptions from the recently released BACKLOG(Tone Center) album.

The hypnotic bolero feeling is enhanced immensely by the gorgeous orchestral arrangement by the great Rob Mounsey. The transcription not only includes the body of the solo section, but offers what Steve improvised over the Fade as well. The analysis provides some fascinating family insights, as well as a deeper look inside the performance and all its aspects. Not to be missed!and, Steve Khan.Soundclip. 'Head Start'The third in a series of Steve Khan solo transcriptions from the just released BACKLOG(Tone Center) album over Bobby Hutcherson's great tune from his classic 1966 album, HAPPENINGS(Blue Note).

George Benson The Art Of Jazz Guitar 2006 Dvdrip Dvd Pdf Online

The performance was enriched by the presence of one of our greatest vibraphonists, Mike Mainieri. It became a complete irony that Steve's album presented 3 tunes from Hutcherson albums, and just prior to the release, sadly Bobby passed away. In one sense, these performances could have always been considered a tribute to him, but now, they take on that role more than ever.

Steve's solo is full of interesting twists and turns, and the analysis tells quite a story of how this all came into being. Mark Walker's great drum solo is one of many highlights on the album.and, Steve Khan.Soundclip. 'Latin Genetics'The second in a series of Steve Khan solo transcriptions from the just released BACKLOG(Tone Center) album. Ornette Coleman's relatively recent composition from 1987, which featured the reunion of one of his great original quartets, is given the rhythmic backdrop of a Puerto Rican plena.

This festive rhythm gave rise to a brilliant solo from trumpeter Randy Brecker, and Steve's solo follows informed by Randy's, and then going off on its own path. It puts to use, for the 1st time on this album, the sounds of Steve's Zawinul-esque DVP-1 harmonized lines. The analysis is filled with interesting stories and perceptions. There was even enough space to present the wonderful soli section which is actually drawn from the re-imagined fragments of Ornette's original solo. Don't fail to take advantage of this one!!!and, Steve Khan.Soundclip.

'Greensleeves'This great Paul Desmond- Jim Hall track from 1959, appears on Desmond's album EAST OF THE SUN(Discovery). Here they are joined by bassist Percy Heath, and drummer Connie Kay as they perform an incredibly short, 2:05, version of a traditional song that has become part of our holiday traditions, even though the original lyrics deal with something far less festive. If one associates the melody with 'What Child Is This?' Then perhaps that's the best way to view it. Here we present two wonderfully melodic solos, though extremely brief, that serve as an insight into these two great players. Wishing everyone a veryH A P P Y H O L I D A Y season, and a very: H A P P Y N E W Y E A R 2017!!!and, Steve Khan.Soundclip. 'Red River Valley'This great Grant Green track was actually recorded in 1962, and yet, the album sat on the shelf for some 7 years, and finally, GOIN' WEST(Blue Note), was released in 1969.

Here Green is accompanied by Herbie Hancock, Reggie Workman, and drummer Billy Higgins as they interpret some classic songs from the world of Country & Western music. This tune, a simple 16-bar repeating form, comes from our great 'Western' traditions.

Hoping that everyone takes advantage of this opportunity to investigate the charm, the swing, the bluesiness of Grant Green. Wishing everyone a very H A P P Y H O L I D A Y season!!! 2016!!!and, Steve Khan.Soundclip. 'They Can't Take That Away From Me'A track that never appeared on the original Stanley Turrentine LP from 1963, NEVER LET ME GO(Blue Note), but now this great Gershwin Bros. Classic appears as a bonus track on the CD reissue. Accompanied by Shirley Scott, Sam Jones, and drummer Clarence Johnston, Stanley's solo is a perfect representation of his very swingin' and soulful style. There was really no one quite like him.

He is a greatly missed presence on the Jazz scene. Wishing everyone a very H A P P Y T H A N K S G I V I N G, 2015!!!and, Steve Khan.Soundclip.

'Sound Off'We begin 2015 by celebrating the life and work of Michael Brecker and present his 3-chorus solo over this Larry Goldings composition which appeared on Mike's 1999 album, TIME IS OF THE ESSENCE(Verve). The tune featured: Larry Goldings(organ); Pat Metheny(guitar); and Jeff 'Tain' Watts(drums). One must never forget the greatness, the inventiveness, and the hard-swingin' creativity of this once-in-a-generation saxophonist.

There wasn't anyone like him!!!As always, here's wishing everyone who visits these pages a very: H A P P Y N E W Y E A R!!!and, Steve Khan.Soundclip. 'The Camera Never Lies'With the passing of the great Nelson Mandela, I was reminded of a solo that I had played on the title song from Michael Franks' 1987 album, THE CAMERA NEVER LIES(Warner Bros.). Produced by the brilliant and very creative Rob Mounsey, I was afforded the opportunity to play in my own Strat style, even though I had to do it while being plugged directly into the board. Reflecting back, I'm really pleased with the results and proud to have been associated with a song that took a political stance.and, Steve Khan.Soundclip. 'Little Rootie Tootie'A rare chance to compare and contrast the original Thelonious Monk piano solo recorded on THELONIOUS MONK TRIO(Prestige) from 1952, which then inspired Hall Overton's arrangement for a small orchestra, which performed the arrangement during the famous Town Hall concert in 1959. And then, some 30 years later, Joe Zawinul recorded the same piece, and put his own 'spin' on the famous Overton 'soli' arrangement of Monk's solo. Reading Steve's analysis should serve as a guide for your own comparisons between the 3 interpretations.and, Steve Khan.Soundclips - Monk.

'Where is Love?' Let us just consider this a belated 80th birthday present to the great, great Clare Fischer as we are proud to offer his solo Fender Rhodes Intro to this most beautiful ballad by Lionel Bart, which first appeared in the Broadway musical, 'OLIVER.' The transcription is drawn from a performance that appears on Cal Tjader's 1977 live recording,HERE AND THERE(Fantasy). This is another golden opportunity to get inside the gorgeous harmonic voicing style of a true master. Don't let this moment escape you!!! Again, a belated,' H A P P Y B I R T H D A Y' Clare!!!and, Steve Khan.Soundclip.

'The Breeze and I'We begin the new year with another little gift, we bring you a superb Pat Martino two-chorus solo over this standard which appears on saxophonist Willis 'Gatortail' Jackson's 1977 recording, BAR WARS(Muse). Backed by organist, Charles Earland and drummer, Idris Muhammad, the track swings like crazy and, was beautifully recorded by the legendary Rudy Van Gelder. And so, as 2009 has arrived, here's wishing everyone who visits these pages a very: H A P P Y N E W Y E A R!!!and, Steve Khan.Soundclip. Bock to Bock'Amost special edition of two Wes Montgomery solos over brother BuddyMontgomery's composition, ' Bock to Bock.' The first solo appearedon the '57 recording, FINGERPICKIN'(Pacific Jazz), while the 2ndsolo, which is an alternate take performance from '61, appears on theCD, THE ALTERNATIVE WES MONTGOMERY(Riverside). Being able to hearand view the similarities, and the differences in Wes' approach to thesame harmonic challenges within a 4 year period should be instructivefor everyone., and,Steve Khan.Soundclips - Pacific Jazz Version.