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Bireli has been playing jazz since he was ve years old and has also mastered bass and

violin!
Iain Scott
DIFFICULTY: Intermediate/Advanced
DAVID REDFERN / REDFERNS

BIRELI LAGRENE

BLUES TO JAZZ LICKS

RECOMMENDED LISTENING Blue Eyes (Dreyfus, 1998)

Bireli Lagrene grew up in the gypsy community and released his rst CD when he was only 13. Since then, he has recorded and toured with players such as jazz violinist Stephane Grappelli, jazz guitarists like Martin Taylor and Al Di Meola to bass superstar Jaco Pastorious, as well as performing solo. To hear his playing for the rst time is a head spinning experience as he combines an exciting mix of old gypsy jazz, fusion and contemporary jazz. If you want to

GEAR

Bireli plays a Django style acoustic guitar and a Gibson L5 single pickup guitar through a Roland JC120 amp. For this recording I used a Gibson ES-335 through a PODxt set to the Fender Twin emulation with a touch of compression.

see him in action get any of the Gypsy Project DVDs which all showcase his amazing technique and playing.

Rock Licks

Tracks 18-21

I have put together a jazz blues lesson to showcase some of Birelis excellent bebop playing. Ex 1: Into Bar 1 with a blues pick up phrase followed by jazz chords; this could be Joe Pass taking the solo. Bar 2 moves into a long Ab blues scale (AbCbDbDEbGb) IAIN - BLUES - BIRELLE LAGRENE GUITARIST 273 line over theMAGAZINE Db9 chord leading to the tricky lick in bar 3. This is SCOTT what Birelli is greatTO at, JAZZ fast urries of notes played effortlessly.
126 Lick 1 GUITARIST MAGAZINE 273

E B G D A E E B G D A E

E B G D A E E B G D A E

E B G D A E E B G D A E

178

E B G D A E E B G D A E

3 n A b7 D b9 b n 3 IAIN SCOTT - BLUES TO JAZZ - BIRELLE LAGRENE 3 j b . n b n b n3 b 4 J . b n b . & 4 b 3 126 b Lick 1 A b7 D 9 n b n 3 J LAGRENE IAIN SCOTT - BLUES TO JAZZ - BIRELLE GUITARIST MAGAZINE 273 j 3 b . n b n b n3 b 4 J . b n b . & 4 b 4 11 10 9 7 4 6 6 5 4 9 9 3 J 126 5 5 4 n b n 3 8 7 6 4 6 Lick 1 5 A b7 D b9 6 4 4 3 3 3 j b . n b b 4 n b J . b n n 4 11 10 9 7 b . & 4 b 5 4 6 6 4 9 9 Lick 2 5 5 5 4 J 7 6 4 8 b A 7 6 4 (Bar 5) before 4 6 D bscale. 7 Ex 2: Again Bireli uses the Ab blues scale over the Db9 chord running 3 down the D diminished This type of playing shows his gypsy roots. 3 3 3 3 3 j b n n n b j 4 11 10 . 9n b 7 4 & b b b Anb7 4 j 6 6 5 9Lick 2 9 5 5 5 4 7 6 4 8 J n D b7 6 4 4 3 6 3 3 3 3 3 j j b n . b n n b n b j & b b n Lick 2 5 6 J n b A 4 75 6 6 4 6 3 5 7 6 D b7 6 6 4 36 j . n 3b 6 3 6 j43 b b b n n 6 4 63 7 8 n b n b & 5 6 j n 5 4 5 6 6 6 4 6 3 7 J Lick 3 6 6 6 6 6 4 D dim G b7 F7 b 4 A 7 n 6 4 3 3 n 6 7 8 bbb n b b n n & b 3 6 Lick 3 n 4 5 5 6 n5 6 G b7 6 4 6 F7 D dim . b 6 6 6 6 6 4 A 7 n 3 3 4 Ex 3: This lick shows Birelis care6 at 4 soloing over changes whatever the tempo. Each phrase points exactly to the correct harmonic movement. b b n n b 6 7 8 b n n b & b n 7 4 6 Lick n . b3 8 7 6 7 4 D dim G b7 F7 6 3 8 10 10 9 A 7 n 3 3 5 5 3 9 8 b 4 n b n b & b bb n 7 4 6 n n 5 n Lick 7 6 7 4 8 . 5 Lick 4 6 3 n 8 9 10 9b 10 8 B b7 E b7 5 5 3 n 3 5 4 b 7 4 6 & b b bLick 4 Lick 5 7 6 7 4 8 n B b7 E b7 6 3 8 10 b 9 n 8 9 10 3 5 5 3 b b 5 4 &b b 8 8 9 10 11 9 7 8 11 9 9 12 Lick 4 Lick 5 10 10 8 9 b 9 8 n B b7 E b7 10 11 n 3 bbb b 8 8 9 10 11 9 7 8 & 11 9 9 9 9 12
E B G D A E
E B G D A E
E B G D A E
E B G D A

b b n b 8 11 9 2005 & b FEBRUARY n F7 10 3 10 b A 7 10 11 .


F7

A b7

10

11

10

10

Lick 6

9Lick 6

12

3 b

b
3
8
9

B b7

10

B b7

11
8

n 9
E b7

E b7

3
9

n
3
4
6

34 3 j j b n . 6 7 8 b n n b n b j & b b n Lick 3 J n b Blues To Jazz Licks Tracks 18-21 D dim G 7 F7 b A 7 n 3 3 bbb n n b b n n b & 6 5 n 4 5 6 6 4 6 3 5 n . 7 6 6 up from playing a melodic 6 6 6 4 Ex 4: This short phrase is made Bb Dorian lick over the Bb7 chord, describing Bbm9 (or, 6 thinking another way, a Dbmaj7
6
6 4

E B G D A E E B G D A E

3 bbb n n b j 4 n6 & 4 6 n 5 5J 6 4
4 5 A b7
5
6
6 5 4

&b b 4
A b7

5
5 4

n J
4 4 3

Lick 2
D b7

j . n 3b 3 j3 11 10 9 7 9n b
3
8

n
4

Lick 2
D b7

3 6

3 TRACKS 18-21 6 6

E B G D A 6 4 E arpeggio). 6 7 8 E 7 4 B 6 G Lick 3 7 6 7 4 8 D dim D 6 3 Bar 10 is in the style 8 9 To nish off, time for some speedy bebop playing. of7Robben Ford, using largely Eb mixolydian A A 5 5 3 3 3 E chord. It can also be analysed as an F Blues lick leading to Db and Ab 5 triads (Larry 4 Carlton thinks this way using triads).

Ex 5:

j
6

E B G D A E E B G D A E

b & b b bLickn4 B b7 b & b bb


5
Lick 4 B b7
A b7

b n n n Lick 5 n . E b7 3 7 4
6
7

n b n n n
8

10 10 over the Eb7 (EbFGAbBbCDb)


9

7
8

6
9
10

b b
10
9

G b7

F7 8

5
11

8
11

E B G D A notes E E B G D A E

b n n 3 8 9 10 11 8 11 9 9 7 8 & b bb 9 9 J n 10 9 12 10 8 8 . Ex 6: The last phrase follows the chord movement of the turnaround. Notice the tense sounding E note played over the Eb7, implying Eb7b9. The last two 10 11
F7

b b &b b

3
10
11

10

4
Lick 5 10 E b7

9
9

10
7

8
8
9

8 8 n n b

12

Lick 6

3 b

B b7

E b7

anticipate a resolution to the home chord of Ab7.


6 A b7
8

A b7


9
8

E B G D A E

b b n 7 1 &b b n .
6
6
4

F7 3

Lick 6

b
3
8

B b7

n
5

E b7

J
5

A b7

All in all a very impressive display of harmonic knowledge can be found here being played in different styles with great skill over a blues progression and this is the easy stuff. Bireli, we salute you!

J
5

A b7