Hey Michael. There is a track. If you look on the right, you'll see 3 button links. The top one that looks like a play button is the track. Be well! Looking forward to hearing your track! And Duke, thanks so much for this lesson! Super helpful!
Hey Duke! I love the track, this is really going to be fun. One thing I'd like to ask if you could show some ideas for stuff to play during the stops. I'm more accustomed to having three stops, like: and-one [break]...and-one [break]...and-one [break] where the rest of the break is two measures. On the track, it's: and-one [break] and-one [break] and you have three measures to play over. So it's a real different kind of phrasing required. Hope that makes sense! Thanks Duke!
Really great stuff. I was noticing how the triplets that Clarence is using on this tune really emphasize the flat tire rhythm. When your track is ready, I think I'll try to add my own modest vocal attempt and piano track first, then lay the guitar over that. The piano on the track is really cool, and interesting that he has his own part during the stops. He plays it the same way on both sets of stops. The drummer really wallops that snare during the guitar solo! And I love it when Bobby shouts out "Look out, Clarence!" :-) Thanks Duke!
Hey Duke and everyone here at Sonic Junction! I'm back, and ready to rock! :-)
Here's my take of the intro. I heard it very slightly differently, so that's what I'm playing. What a fantastic tune! Looking forward to hearing your observations of Clarence's playing behind Bobby's vocal.
It sure does look like it, Marty, except that Hollimon left Bland's group in 1959, 7 years before the first Coronado II was made. Maybe I'm wrong about that picture being Clarence. [ pausing while Bruce does some research ] -- Yup, I was wrong about this being a picture of Hollimon. This picture appears to include guitarist Wayne Bennett, who played with Bland sometime after Hollimon. So you are probably correct about the guitar. It's a great picture, though.
Wow! I can't believe I never heard this one before, that guitar work is amazing and what tone he's got. What kind of guitar/amp do you think he was using? I found this picture -- it looks kind of like a Tele style headstock that's been painted black, but with inlay on the neck. Bobby and the trumpet player are sure diggin' what he's playing.
That is one cool shot!
Thank you very much, André! I deeply appreciate that! I'm doing really great with my prior health issues, and just recovering from a strained wrist, so I'll be posting some videos again soon. Thanks again for the kind words and well wishes!
Wow, very nice Marty! I really enjoyed listening to it.
The ever so gradual dynamic build up, the lyricism, the building of motifs and the rock solid rhythm in this example demonstrate why you are one of the greats, Duke. Inspirational. Thanks for this.
Hey Duke! This was a really fantastic set of lessons. I was inspired by some of the things you said in the first lesson to start working on my tone. Do you think I'm over the top with the distortion on this? It sure feels good. ;-) Hope you're well. Would love to get your thoughts on this one! Thanks for the great lessons on this tune! Best, Bruce
Hi John. That's the same version I'm using. Duke seems to agree that it is 3 choruses of 8 bars using the same chord pattern as the song, as he says that in one of the lessons.
John, I respectfully disagree. To me, it sounds like 3 choruses of the 8 bar form. Mathmatically, that works out the same as 2 choruses of a 12 bar form (3x8=24 2x12=24) but moreover, to me, it sounds like they are playing the 8 bar form, especially in the harmonica solo. Of course, I could be totally wrong. ;-) But that's how I hear it.
Hey Duke! BTW, I'm feeling great; all is going well. Anyway, here's my take on this. Hope you like it! Hope you have a wonderful holiday and happy new year. Here's to 2020. Bruce
PS Really nice playing Charlie and Slim! It was inspiring to see your videos.
There's a story I heard about Bix where the publisher was trying to get a transcription of him playing "In a Mist", but Bix couldn't stop himself from improvising every time he got into it. "Just play it the same way", the publisher pleaded, and "I can't" was all Bix could say. Wonderful ideas,Duke! That lick you were demonstrating in many variations is in my head often. How you approach a note is so important, isn't it? It's like using a spice in cooking, how you approach and leave a note. Chicken is always chicken, but the flavors in which you envelop it make it Italian or Cuban or French.
Thanks for these great series of lessons! They have already influenced my playing.
Just a thought -- if you teach us both parts, on the jam track maybe do one part then the other, so we could try playing both parts with you? It would also be an interesting experiment in tone to see how the two guitars sound together when the registers they are playing in exchanges.
Maybe I'll have to call Paul in to show is his part!
Wow, what a great challenge. I'm going to have fun with this! Thanks Duke!
I'm absolutely thrilled to hear that! Thank you, Duke!
I'm floored! Thanks Duke!! I will do my best.
Thank you, Duke! That is inspiring to hear.
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