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Best bebop soloing instruction videos on youtube?

Discussion in 'General Instruction [BG]' started by gimmeagig, Jan 20, 2013.

  1. I've been looking for some clips to help me solo a little more like this guy Joe Goose who I just found on youtube

    I did some searches but have not really come up with anything.
    I might not be using the right search words.
    can you guys recommend something for me?
  2. SJan3

    SJan3 Supporting Member

    Dec 8, 2010
    Transcribe what he's playing. That's one of the best ways to learn.
    In fact, listen to any solo you dig and transcribe. So much knowledge because you get to see and hear the applications. Listen to a line or two over and over again until your ears become familiar with the sounds. Make it a part of your vocabulary. I look to identify certain scales, arpeggios and distinct tones that color the changes. Also, check out Carole Kay's website. Many very useful tools available.
  3. Jazzdogg

    Jazzdogg Less barking, more wagging!

    Jul 29, 2006
    San Diego, CA
    Listen to be-bop horn players
  4. Yes, listening to horn players, I can see that. I bought the charlie Parker Omnibook for bass some time ago, got through a few of the tunes but eventually intimidated by the task and moved on to other things, maybe I'll pick it back up again.
    Joe recommends listening to Chet Baker, I'm not so familiar with his playing, I'll have to see which CDs might be the best.Any recommendations?
    I've been playing bass for a long time but I'm more at home with R&B Funk Latin type of stuff.
    Marcus Miller has been my main man forever, Alex Al too and both of them can do that Bebop solo stuff like that's all they do.I can't, depending on which tune it is I sometimes sound like a dork. Like green dolphin for example, for some reason those changes are hard for me.I'll definitely try to work out what Joe plays on that.
    I get calls for Jazz gigs on occasion because I play all the styles pretty well, can read have a good feel and I show up on time. But I want to start sounding a little more authentic when I solo.
    I suppose there is no real shortcut and I'll have to start transcribing.
  5. Ant_C


    Jul 25, 2012
    Tamarac, FL
    The Charlie Parker omnibook is a great way to learn to solo over bebop changes. What I do is look at each lick, and analyze it and how it fits into the chord and where hes starting from a chord tone then uses passing tones to reach certain chord tones of the next chord (like a b9 to 5, which he does a lot in confirmation). Transcribe other horn players too, and even bassists too. Notice patterns they do over and over again, or anything that just sticks out to your ears and just learn those and add them to your playing. In my opinion this has been the easiest way for me to learn to solo in a bebop tune.
  6. narud

    narud Supporting Member

    Mar 15, 2001
    santa maria,california
    theres absolutely no substitute for transcribing and analyzing the note choice against the chords. watching all the instructional youtube clips in the world or books wont ingrain it into your playing. playing through the omnibook is good, but youre still better off doing it by ear imo.
  7. Well I got the omnibook in front of me now. Just relearned the head for confirmation. I used to know it years ago.I'll see if I can get through the solo next. When i first worked on it years ago, I didn't have the amazing slowdowner or a computer, so I was never really able to play it correctly in the original tempo.Now it's easier.Maybe this time I'll stick with it and hopefully some of Bird's genius will rub off on me.:)
  8. narud

    narud Supporting Member

    Mar 15, 2001
    santa maria,california
    thats what gets you playing like that. not using a slow downer and being miserable working on it one bar at a time:smug:
  9. Hey I just checked out your video. Nice!!! Love the drummer you're playing with. Is that a fender jazz you're playing on that song?
  10. narud

    narud Supporting Member

    Mar 15, 2001
    santa maria,california
    thanks! all the videos are either my 62 jazz or a 1980 jazz.

  11. Nice solos man. Great phrasing and technique.
  12. narud

    narud Supporting Member

    Mar 15, 2001
    santa maria,california
  13. Damn Joe,I just heard the solo "on silence for contest".... that's some serious stuff you are playing there.Like it a lot.Seems that all the players I really like play 4 string Jazz Basses. And you are one of them.
    I go back and forth between my 74 Jazz and my Atelier Z 5 string. I really love the Jazz but I've made some modifications to the Z and it sounds just as good as the Fender now.There are quite a few tunes I play that need the extended range of the Atelier Z. Unfortunately I get unwanted rings and noises on the 5 string.I notice it more when I'm practicing at home or recording than on gigs. Not really bad but still it annoys me. I see more and more guys with some type of a slide on mute at the top of the fretboard. Must be an issue for other players too.
    It's much easier for me to keep the 4 string muted and quiet but not having the B string is a real drawback for me.
    I do have a D tuner on the fender and Hipshot just came out with an addon that will let me have a low D plus a low C. I'm going to order one of those.
  14. narud

    narud Supporting Member

    Mar 15, 2001
    santa maria,california
    the 5's i have are acutally easier to play fast on because of the tighter spacing, but 4's feel more like home. the muting of the B isnt an issue.

    if youre serious about picking up some new ideas in your playing, youve got to separate gear and tone from the equation. none of that stuff matters. most of the work i put in was with whatever bass was closest to me (not plugged into an amp) or an acoustic guitar. the gear/tone is the icing on the cake!
  15. You got me there, I do get hung up on gear and tone too much.
    Maybe a good New years resolution: Stop tweaking, start practicing.:bassist:
  16. wrench45us


    Aug 26, 2011
  17. Great book!
    I think Mike longos books were the most eye opening as far as extracting melodic lines derived from any chord progression.