On November 22, 2014 I had the pleasure of hosting the first SXU Jazz Guitar Workshop Day at Saint Xavier University in Chicago, IL.
Attached is the Powerpoint for the lecture I gave on the history of jazz guitar and guitarists.
For all the students who came out, thank you and I hope to see you again soon.
-Shawn Salmon
How do we create a fantastic solo in just 32-bars? One that builds with each passing bar, while at the same time connecting phrases so seamlessly you’d swear someone was telling you a great story? I believe I found the answers in Kenny Burrell’s one chorus solo over “Satin Doll.”
Jimmy Smith recorded with many fine guitarist including Quentin Warren, Eddie McFadden, and even Grant Green and Wes Montgomery in his classic Hard Bop Organ Trios and all are swinging sessions. For me, I was always drawn to the albums with guitarist Kenny Burrell. Kenny recorded “Satin Doll” with organist Jimmy Smith on the album Organ Grinder Swing, on Verve records in June 1965. This side was one that stood out for me from the moment I heard it.
Kenny Burrell was born into a musical family in Detroit, MI in 1931 and began playing guitar in his early teens. He graduated from Wayne State University with a BA in Music Composition and Theory. Kenny was one of many great jazz artists to come out of Detroit in the 1950’s including Tommy Flanagan, Paul Chambers, and the Jones brothers, Hank, Thad, and Elvin.
In 1957 Kenny began to work with Jimmy Smith on and off and can be found on some of Jimmy’s most classic Blue Note albums including Midnight Special, Back At The Chicken Shack, and The Sermon.
I was turned on to this solo while in undergrad and was asked to transcribe it for an assignment, but I don’t know if truly understood what Kenny had done until recently. After listening to it (and transcribing it again) recently I was able to finally hear how coherent this one chorus was and how beautifully he built it from beginning to end.
There are so many great aspect of this solo. Kenny’s sense of time and swing is completely in the pocket. He has a natural gift of blending elements of the blues with bebop vocabulary. In Kenny’s one chorus (Jimmy gets five), he builds that perfect arc in his solo, steadily rising to a climax over half-way through, and coming back down slightly to let Jimmy have room to build as well.
It is hard to identify one single lick that stands out because each phrase appears to be connected to either the phase before or the phrase after. Kenny has constructed a solo of phrases that speak to each other in several call and response moments in both contour of the melody and relationship of pitch. There are times I almost hear a conversation taking place between two people.
Kenny begins with a wonderful melody outlining a C triad over the Dm7-G7 progression in which he resolves with a nice 7-3 (D-C#), with that jump up to A to finish the thought he began with in measure 4 over the Em-A7. In measure 1, his first phrase begins and ends on C. At measure 4 he ends on C# at the end of measure 3 into 4. This simple half-step relationship, to me, seems very vocal and conversational.
In measure 5, over the Am7-D7, Kenny descends chromatically from the A to the F# (3rd of D7) and arpeggiates up an F#m7(b5) chord to outline the 3rd, 5th, b7th, and 9th of the chord. He then uses the G and E to enclose the F on beat 1 of measure 6. The Abm7-Db7 progress is a tritone substitution for the typical ii-V progression (Dm7-G7) that would resolve to CMaj7. Kenny outlines the Db7 before brilliantly resolving into the D (9th) of CMaj7 on measure 7.
He begins the second A section with a scalar run up in triplets. Measures 11 and 12 seem to be response to the call made in measures 9 and 10. On beat one of measure 10, the highest note is G and ends on an A. In measure 11, he answers with phrase with a similar phrase with the highest note an A and lowest a G.
Both phrase contain a similar contour in shape and both utilize the triplet rhythm as the notes rise and then fall in the melody. But that relationship between these notes high and low note, help strengthen the question and answer theme Kenny continues to use.
He ends the section by adding one of Kenny’s signature blues flavor riffs to the Ellington standard using a C minor pentatonic run in measure 14.
The B section begins with another wonderful 4 bar call and response style melody in measures 17-20. Again, the relationship between the notes in these phrase are interesting. He opens with a simple C to A in m. 17, repeats them in 18, and then ends the phrase in m. 20 with C to A an octave lower. It is a simple thing, repeating two notes, but makes a strong impact on the coherency of the phrase.
In measures 21 and 22, he plays another simple call and response, this time a 4-note motive. Both share similar contour in shape and note relationship. The highest note in the first phrase is a D and lowest an E in m. 21. In m. 22 the highest is C and ends on an F#. Call and response is only a step a way.
For me, the climax is in measures 23 and 24 with the 16th note melody leading to the final A. The lick is a scalar run primarily focused on the G Mixolydian scale. I also notice that he ends the lick on a G. When looking the entire phrase from mm. 21 to 24, Kenny has a little motive just with the end notes of E, F#, and G that aurally seem to bind the four measures together.
Kenny kicks off the final A section with melodies that both outline the ii-V progressions and are strongly related to each other in texture. Notice the end notes in mm. 25 (D) and 26 (C#), a half-step relationship.
By measures 29 to the end he returns to the blues with some tasty C minor pentatonic based riffs to close out his chorus.
“Satin Doll” is a solo in which standard notation does not show what Kenny Burrell is doing justice. He has a unique way of pulling the notes to coincide with the emotion of the line. Slightly behind at times, dead center at others. His choice of notes that he will slide into with a glissando is also worth to note. He does not do it on every note, but he will gliss or slide at least once in each phrase. It is these subtle varieties in pitch that transform the solo from notes being played to a story being sung. These are traits and traditions in jazz performance that one cannot get without immersing your ears in the sounds. Kenny Burrell used his his guitar as his voice, a personal extension of himself, to crafted 32 bars of music that has a purpose and direction. That purpose is to say something meaningful and the direction is up.
Satin Doll PDF copy
On March 22nd I had the privilege to present at the Leeds International Jazz Educator’s Conference at the Leeds College of Music in England. The trip was one I will never forget. At the conference I heard many great performers and educators sharing their research and projects. I heard a lot of great music too. The students of Leeds played in the cafe each day and they all were fantastic. Note, these are cats 17-20 years old, killing it on everything from standards to Metheny and Chaka Khan tunes. They got it going on over there. The main thing that I walked away from the experience is that jazz is such a powerful music. I was able to talk to people from England, New York, Ireland, Austria, Spain, and Switzerland about jazz, it’s impact on other countries, and how we all can continue to better ourselves as jazz educators to help keep this American art alive and well.
At the end of the conference we all gathered to talk about various topics that came up during the past two days. One that kept coming up revolved around ways to better define what jazz is. I got the feeling that some there felt that if we could only define it better it could be better marketed and reach a broader audience. But I believe that is the beauty of jazz and why it truly is an American art. The second you think you can define us, we change to include something else, something new, something borrowed from someplace else. Jazz is the sum of all music that has come before and continues to evolve to the music we will hear next.
My research was on Charlie Christian’s influence on Wes Montgomery. More on my presentation can be found here on my website. What I found was Montgomery used the traditions of jazz (particularly what is got from imitation Christian solos) as his foundation and repository of possibilities. As he mastered those traditions he was able to add his own self into what he was play, drawing from his own experiences, insights, and possibly even mistakes to help create new traditions.
At the conference two artists, totally unrelated to each other, created works influenced by Dante’s Seven Deadly Sins. The first was the key note speaker, saxophonist/hip-hop artist Soweto Kinch. His presented was a theatrical piece revolving around the day in the life of a young MC and how he was tempted through his day. His work included elements of rap, hip-hop beats, and samples, as well as live drum and bass, improvisation, and his saxophone playing. Very hip stuff.
The other “Deadly Sins” work was by a fellow conference presenter and vocalist Louise Gibbs, who wrote a piece for voice and septet. Her writing was rooted in the traditional styles of arrangers like Gil Evans and Sammy Nestico. She performed three pieces of her 50-minute song-suite which featured the traditional jazz swing feel and plenty of fine improvisations.
As a composer and arranger I personally connected with the Ms. Gibbs more because I really enjoyed her writing, both for the horns and her lyrics. Her work was rooted in traditions of jazz that I myself felt a stronger connection to. It wasn’t better music, it just connected with me on more levels. For someone else it may not have. That is cool too.
For me both are jazz artists that performed works of jazz. The foundations they drew upon were the same, but the end product was as unique as the individuals themselves. Does it matter who was “more” jazz? Would a better label help sell the music better? Over the past few years jazz artists have been surprising folks in all categories at the Grammy Awards. Robert Glaspar won a Grammy for best R&B album (2013), Esperanza Spalding won best new artist (2011), and Herbie won album of the year for his Joni Mitchel album (2008). How? Why? They are just creating really, really good music and people are taking notice.
The music jazz musicians perform is creative and inspiring. The music is evolving from their own individuality and the traditions of the past. Jazz musicians are still adding to the traditions of jazz and doing it really well.
That is why I think jazz is so great. One is able to create with all the musical colors of the rainbow. If the color you want is not in there, add it yourself. Mix it up and paint away.
Thanks for a great experience Leeds College of Music. I hope to see you again soon.
The abstract is as follows:
Much of guitarist Wes Montgomery’s study of jazz improvisation came from imitating Charlie Christian’s guitar solos. But despite Montgomery’s dedication to Charlie Christian’s solos to better learn jazz improvisation, Montgomery was able to emerge with his own singular and influential voice in jazz. The purpose of this paper is to identify and examine significant improvisational traits that Wes Montgomery developed as a direct result of his imitation and assimilation of Charlie Christian’s guitar solos. A major emphasis will be investigating the musical traditions in Christian’s playing that were absorbed into Montgomery’s playing and how Montgomery was able to use these traits to foster new musical traditions. The study also examines the relationship imitation has with creativity in jazz and how originality is influenced by the past. It will also examine how students can use imitation as Montgomery did in developing an original voice of their own.
The paper examines the two guitarists’ use of five harmonic and melodic devices over dominant harmonies: scales, arpeggios, use of chromatic pitches, formulas and enclosures, and harmonic substitutions. The study begins by focusing on how Montgomery’s melodic and harmonic treatment of dominant harmonies has been influenced by his imitation and assimilation of Christian’s improvisations. The next step will be examining of how Montgomery differentiated himself from Christian. The final portion will be given to identifying the significance of these differences and how these differences are connected to Montgomery’s originality and innovation as a jazz guitarist.
This is my first trip across the pond as they say and will making some time to see the sights. A “Beatles Walking Tour” is already booked for while staying in London. I am extremely excited to not only be a part of this wonderful conference, but also to able to see and experience England for the first time.
Work Song is one of those classic tunes of the Hard Bop Era I love to play and listen to. It is bluesy, funky, and soulful. Everything that Hard Bop is, so adding Wes Montgomery into the mix is pure Hard Bop nirvana.
Work Song was written by Nat Adderley and recorded on the album of same name issued on the Riverside label. Cornetist Nat Adderley is joined by Wes on guitar as well as Bobby Timmons on piano, Percy Heath on bass, and the great Louis Hayes on drums. It was recorded on January 27, 1960.
What struck me right way is that one cannot always rely chord changes in the fake book. I’ve always played the tune with the Fm7 as the tonic, but it is clear that the boys here are playing an F7. The A-natural becomes a central note that Wes will emphasize throughout his two choruses.
What continues to astonish me, and why Wes Montgomery is my go-to-guy for inspiration, is his ability to create solos as if they were conceived from beginning to end before he plays them. The themes are woven in and out, developed, and comeback in new forms later as if he planned it that way from note-one.
He begins with a simple and bluesy melody, outlining the F triad with the chromatic passing tones Ab (flat-3rd) into A (3rd) and the B (sharp-4th) into the C (5th) in measures 1-2. This theme gets developed, always returning the A-flat as the grace note sliding into the A-natural. He ends his theme and development in measures 6-7 with an enclosure of the 3rd.
Wes begins the second half of his first chorus continuing to develop these grace notes as a theme while he outlines the F7 chord in measures 11-13.
He ends the first chorus with lick over the Db7-C7 in measure 16, that I closely associate with Wes, one of is few signature licks if you will. Wes seems to ignore the Db7 and atticapates the C7 by chromatically descends from the root (C) to the flat-seventh (Bb) (the bebop scale some may call it) and then back up to the root before anticipating the F7 on beat three, playing up to the 3rd (A). Using anticipations is a harmonic device that adds unique tension to a solo and Wes was very skilled at. Montgomery’s uses of anticipations can be traced back to his study of Charlie Christian, who was a master at this device and was one of Wes’ main influences. The lick itself is definitely a lick I suggest adding to your vocabulary, it is short, sweet, to the point, and allows you to add many, many variations to it.
His second chorus begins with a descending F minor pentatonic scale (m.19), before digging into a fantastic melody that ends with him emphasizing the 13th (A), root, and 9th (D) of the C7 and resolving the D down to the Eb (7th) on F7 [measures 24-26].
In measure 27 we encounter another rare Wes Montgomery “lick,” but one that he is most fond of. He ascends a major 7/9 arpegio beginning on the flatted seventh of a dominant chord (F7). This outlines the flat-7 (Eb), 9 (G), 11 (Bb), 13 (D), and root (F).
Measures 28 through 30 have elements of call and response, in which Montgomery descends the F bebop scale in sixteenth notes to begin a two bar melody that encloses the 5th (C) and 3rd (A) of the F7. He then repeats the same rhythm, descending chromatically from the Ab to F to answer that melody in measure 30, enclosing the Bb in measure 31.
Wes ends his solo with brief octaves, emphasizing the Ab to bring the solo back to it’s bluesy roots (measures 31-34).
This solo is the perfect balance of soulfulness and adventurous lyricism. It is a solo As with every Wes Montgomery solo, I want to not just play the correct notes, but how he played those notes. Trying to match the intensity, dynamics, feel, and color he plays each note I want to emulate and absorb, hoping someday, some of that will get into my soul and out my guitar too.
PDF copy of Work Song Solo
Before Wes Montgomery was “The Incredible Jazz Guitar[ist]” and “Smokin’ At the Half Note” he began his professional career on the road as guitarist in the Lionel Hampton Big Band from 1948 to 1950. Wes Montgomery was drawn to the six-string electric guitar (as nearly every guitarist at the time was) via Charlie Christian. As Montgomery states, he heard Christian playing “Solo Flight,” Charlie’s signature feature with the Benny Goodman Orchestra, in 1943 and “didn’t look at nobody else.” Montgomery would spend the next eight months learning Christian’s solos note-for-note. A few months later, at the age of 20, Montgomery was playing Charlie Christian solos for the crowd listening in Indianapolis’ 440 Club. Once the audience was so excited about what Wes was playing they cheered for more, but Wes said he couldn’t because that was all the Christian solos he knew. 
Over the next five years Wes Montgomery would continue to gig night after night, developing his own voice from Christian’s foundation. In May 1948 Wes auditioned for Lionel Hampton, who happened to be passing through Indianapolis, and was hired to be his guitarist. Hampton, who was a member of the Benny Goodman Sextet with Charlie Christian in 1939, stated that even though Wes could not read music, he was impressed with Montgomery’s ability to play lines like Charlie Christian. Montgomery would leave Hampton’s band in 1950, but Montgomery did make a few recordings while with Hampton. These recordings unique in that Wes Montgomery would not be heard on a recording again until 1957.
Although Montgomery toured and recorded with Hampton’s band, he was not a featured soloist on many recordings. Two rare recordings that allow us to hear what Wes sounded like during this time are “Adam Blew His Hat” and “Brant Inn Boogie.” “Adam Blew His Hat,” recorded July 1, 1948 in New York, is a medium-up swing number in which Montgomery is given an eight bar solo. Although Christian’s influence is present, Montgomery’s originality is showing even in these eight bars. Like Christian, Montgomery’s use of scales in his improvisations is not overwhelming and he favors arpeggios.
Over the minor harmonies, Cm7 (measure one to two) and G#m7 (measures five to six), Montgomery plays a descending Dorian mode, the diatonic second mode of the major scale.
Montgomery begins in measure one, over a Cm7, by arpeggiating up an EbMaj7 chord over the Cm7. Montgomery is treating the Cm7 as an EbMaj7 with C in the bass. This approach allows him to emphasize the following chord tones: the third (Eb), fifth (G), minor seventh (Bb) and ninth (D). Arpeggiating up from the third of a chord was also a device favored by Christian.
Over the G#m7 in m. 5, Wes descends from the ninth (A#) down to the fifth (D#).
Montgomery also emphasizes the upper chord tones of the harmonies in measure seven over the F#7 to B7. Montgomery outlines an EMajor7 arpeggio with a passing chromatic D-natural to the C#. Over the F#7, Montgomery plays all upper chord extensions beginning with the sixth (D#), flat-seventh (E), ninth (G#), and eleventh (B). Over the B7 he plays the third (D#), flat-third (D), and ninth (C#).
Charlie Christian regularly used the passing flat-third down to the ninth and this technique appears have been added into Montgomery own vocabulary. Montgomery ends his solo by anticipating the D7 in measure nine and adds a bluesy touch by beginning on the F-natural (flat-third) into the F-sharp (natural-third).
“Brant Inn Boogie” was recorded a few weeks later on July 21, 1948 in New York. “Brant Inn Boogie” solo progression is a blues in C, in which Wes is given a chorus and a half to improvise over. Montgomery begins with a very simple melodic phrase over the C7, going between the fifth (G) and flat-seventh (Bb) before resolving to the B-natural (the third) in measure two over the G7.
“Brant Inn Boogie” contains several elements that could be traced back to Montgomery’s study of Christian’s solos including playing the raised second to the third and use of the bebop dominant scale. Montgomery uses the raised second (or flat-third) to the third motive in measures two and three, and in fourteen.
In measure fourteen, Montgomery adds tension by anticipating the change to G7 by two beats.
In measure four, Wes descends a G dominant bebop scale, inserting the F-sharp between the root (G) and flat-seventh (F).
Wes Montgomery was a master at creating long, melodic sequences in many of his most classic solos, “Brant Inn Boogie” is no different. In measures nine through thirteen Montgomery creates a sequence over the I (G7) and IV (C7) chords using the G minor pentatonic (G, Bb, C, D, F). Montgomery is able to create tension by using a rhythmic ostinato beginning on the root of the G7 (m. 9) and ending on the root of the C7 (m.13). Even in these early solos one can see that Wes Montgomery truly focused on creating a statement with his melodies.
Wes also used techniques associated with bebop like enclosure and harmonic substitution in measures 17 and 18. Over the D7, Wes encloses the C (flat-seventh) and then arpegiates up a C7 chords, ending with a chromatic run from the Bb up to the D. The C7 arpegio played by Montgomery hints at a V-IV cadence as he resolves with an anticipation to the tonic G7 chord in m.18. Anticipating a chord change was another technique found in Charlie Christian’s playing and would also be a technique that would be prominent in Bebop.
These rare examples of Montgomery’s playing in 1948 while with the Lionel Hampton Big Band show that Montgomery was applying melodic techniques that could be credited to his imitation and assimilation of Charlie Christian’s playing. Even at this fairly early stage, Montgomery was not a Christian clone in any way. Montgomery was already using techniques like outlining upper chord tones, chromatic pitches, and harmonic substitutions with his own variations. Montgomery would leave the Hampton band in 1950 and return to Indianapolis to continue working in the jazz clubs of the city. Montgomery would not be heard on a recording for nearly eight years after this. During this time Montgomery would continue to build on the material he imitated from Charlie Christian and continue to assimilate these techniques into a sound that would forever be known as Wes Montgomery’s.
Download PDF copies of:
Adam Blew His Hat pdf
Brant Inn Boogie pdf
I am a big fan of the shows The Office and Parks and Recreation (especially when they poke fun at dear ol’ Muncie). This past week both shows had a little fun with jazz.
In The Office, Dwight tries to comfort Angela by saying she isn’t stupid. But they both agree on what is stupid.
In Parks and Rec. Leslie is asked by the local PBS host to introduce the next segment “Jazz + Jazz = Jazz.”