Yeah, I had success with that as well. It's funny, those 5 scales are not really that different from the common scales that everyone knows (and which are taught at Berklee) but the way Jimmy presents them and thinks of them make a lot of sense. They offer a solid blueprint for the guitar.

Howard Roberts taught me the 5 scale shapes in the 70’s. They are the foundation of everything I play to this day. I wonder if they’re the same as Jimmy’s.

Where can someone learn these nowadays?

Yes please share it with us !

@@salvatormundi5184 his no nonsense dvd

Did he quit smoking?

😂 Relax

@@lowellcalavera6045 I'll try to.

I was so grateful to have caught Herbie down in New Orleans this past May… what a treat to see him still shredding keytar

@tychoshea Over the past approximately 10 years I've had the pleasure of seeing Live Performances by Jimmy Cobb, Wayne Shorter, Herbie Hancock, Ron Carter and others. The Best part was having the opportunity to Talk to them for a moment after the show and Thank Them for what a big inspiration and influence they are to Me and so many others.

As in Life

He has Bruno online school here on KZfaq.

True man!

Such a shame he is not more widely known, even more now that he is one of the very few of his generation left.

@@axeman2638 agreed his playing is on par with Pass Green Kessel and Wilkins

​@@joshferguson9703 its not on par with wes

@@anotherbahamianguitarplayer it’s better than Wes imo

Hey Dom! Hope you're doing well. I used to hang out at RMMGJ - that's where I know you from. Too bad that Lord Valve guy was allowed to ruin it for everyone.

Used get up @ 5am San Diego for the early Bruno Rant, Take it or leave it what you see is what you get, not just no nonsense Guitar, no nonsense real McCoy 😾

Me to! The Bruno rant...

He has Bruno online school on KZfaq. But I agree, those daily morning videos were priceless.

Can we still do the those ? Daily Bruno videos

Amen

because they didn't have a codified way of playing the guitar that's why he's talking about grips on the guitar and basically it sounds like they just had a little structure. that they learned and they put them together piecemeal randomly somehow to come up with a decent presentation. Which is what I learned how to do. Playing chords is totally different than soloing. And to put notes together when you solo all over the fretboard you need to try to start somewhere my piecemeal solution was to start on the fifth fret usually because that would utilize most of the fretboard that is accessible. Duh in the middle. And then I learned how to play in keys specifically songs that were in certain keys.

So, in other words, early guitar players had to master their own technique from scratch, which is crazy if you think about it. Because all the other instruments had textbooks, etc., but not for jazz guitar. Even if you studied classical guitar at the time, I gather that the technique was totally different. Improvisation was also a challenge, and there was no solution for it either. But now, with places like Berklee College of Music, etc., young guitarists sound really good technically, but they sometimes lack that emotional feel which I hope experiences will somehow touch their technique. A classic example of a great guitarist, who I'm not sure if he was totally self-taught, is Pasquale Grasso. He has fantastic technique and fantastic emotional presence."

​@@grantgre any advice in learning to improv in this way? And if I do learn from records what's a good way to implement the material in my own playing?

@@m3ntalcollid3r i'm not sure of what way you're saying but all I can tell you is that you have to make an emotional decision and intellectual decision to try to play what you're hearing other players play. And once you make that emotional commitment because it's going to be a lot of work and you're gonna have to try that practice. Bruno was talking about basically he learned by practicing little licks and you can hear that and his playing if you hear him. And I think that most guitars have their set of licks, some are more sophisticated than others and or more complicated to pull off technically. But one so-called riff would you need to just play a scale in whatever key he would like to try to play the scale that say see starting on the third fret, then you would like to play it in on the fifth fret, then you wanna play it on the eighth fret and so on until you can basically play that scale at any position on the fretboard. That should get you started. Then play a tune that's in C and play that scale over the tund and see what fits and where they don't and try to use a different scale or a different note on that particular chord that clashes Dont study the modes and all that stuff it's it's too complicated and it takes you away from learning the fretboard because it's it's too much for a beginner. I think the goal of improvisation should be to play and present yourself with an instantaneous in the moment creation which is unique to you and also surprising to the listeners such that they think the music is interesting. Because after all if you play the same Alex are the same tune over and over again it gets boring . You may have practice same thing 1 million times but when you play it out and in that moment it may sound fresh and creative. People like Wes Montgomery develop their technique which was highly unusual at the time nobody played like that and therefore when you heard him it sounded so fresh and so beautiful because it was musical. And melodic. you should listen to the Wes you should listen to Bruno you should listen to Ed Bickert, Jim hall Pat Metheny, George Benson Joe Pass, Johnny Smith, Chuck Wayne, Hank Garland, Billy Bauer, Tony Mottola. Charlie Christian, Charlie Parker etc. Kenny Burrell, Jimmy ponder miles early miles and late miles. I learn to know what you like and try to expose yourself to other musics that you don't necessarily have heard like the great Brazilian guitarists Guinga etc like I said this is an Ocean that you can jump into.

I also took lessons from Dan Bennon in Bloomfield NJ for about 4 months back in 1980. I still have some of the lessons. Incredible chord melody player. A real taskmaster to be sure. Old School.

He was a jazz bassist but taught improvisation for players of all instruments.

Loved Al & always saw him w/another Sandoli Virtuoso Gr-8, Chuck Anderson, who is still performing and producing nice albums. Didn't find out 'till a recent High School reunion that in addition his Jazz expertise Chuck taught Marley guitarist Al Anderson. God bless & Cheers!

@@jjmohn9204 yeah, I studied from Chuck. Great teacher for technical stuff, Al was actually a better jazz teacher tho. Michael Sembello (session guy, composer of’Maniac” fame) also studied with Chuck.

i can do that one in my sleep.. i played for many years for female singers

@@brunoonlineschool7527 well maybe you know this why did George Benson always play Stella in G ? I think back in the day a lot of players played it in the key I don't know why and I don't know why they played in B flat now?

@@grantgre G is the original key of stella.. that would put horn players in A if your a tenor player.. so they play it in Bb which is C for them

@@brunoonlineschool7527 there's nothing like experience as best teacher! By the way I saw you at all Birdland this week fantastic show! I'm putting my money where my mouth is baby

Is this comment a reference to something?

Wooten fan detected 😂🙌

well, Django left this world 2 months prior to J B entering it..

Just learn to navigate it. It's not as difficult as people say.

@@effsixteenblock50 You are right, I guess I knew it, kind of, when I played it i.e. the 3 keys. I´m doing the navigation now both scale vise and arpeggio style. Thanks man :)