Added: 4 years ago
From: mrjazzvids
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  • This. Is. So. Interesting.

  • The whole point is not to repeat yourself, and if you really listen, Rogers does repeat himself. He just doesn't hand it over to you. Sorry you don't get it.

  • that bitch right up front screws the whole video...

  • if he didnt know thwory why would he write a song based on the phrygian mode.... named... phrygia...???

  • This. Is. So. Boring.

  • I meant altered harmonies!!! Damn IPhone!

  • Adam played just as well as thus in 1987 when we played together in the Cry

    First time I heard him he was playing on the street at the cube on Astor place

    I heard from afar. Its been His voice since. An amazing technique with an ear for altered hormones and a killer groove

    And he's a spinner of endless lines that work like fractals, exposing the organic weave between all tonal centers. And , he pulls it off with great lyricism, something he always has done. Love him

  • @freesoulsinger cool story bro

  • Really nice improvisation now watch this one is awesome also ! youtube.com/watch?v=e7NHwtkM7C­s

  • Adam knows theory. Know how I know? He transcribes his heads.

    Also, how can you say he can't hear 4, 5, or 6 note chords? This is what you /do/ in ear training courses in college. You learn to hear harmonies, intervals, etc.

    Remove head from ass please.

  • Comment removed

  • @prsguitarsr4me Interesting. Curious, how did you get to study with Adam? Also, what locatino does he teach in/where are you from? I'd be really interested in learning from him. I'm also curious what his teaching style was like. Anything you can tell me please do!

  • Ah why did it have to stop!

  • phrasing with talent in the diminished scales , outside pentatonics ..and altered pentatonics scales ..playing jazz chromatisms throw these scales ...in fact ! easy to play if you know as well as possible modal music

    NO MYSTERY ...We have to learn modern jazz harmony like Adam did ..

  • phrasing with talent in the diminished scales , outside pentatonics ..and altered pentatonics scales ..playing jazz chromatisms throw these scales ...in fact ! easy to play if you know as well as possible modal music

    NO MYSTERY ...We have to learn modern jazz harmony like Adam did ..

  • phrasing with talent in the diminished scales , outside pentatonics ..and altered pentatonics scales ..playing jazz chromatisms throw these scales ...in fact ! easy to play if you know as well as possible modal music

    NO MYSTERY ...We have to learn modern jazz harmony like Adam did ..

  • phrasing with talent in the diminished scales , outside pentatonics ..and altered pentatonics scales ..playing jazz  chromatisms throw these scales ...in fact ! easy to play if you know as well as possible modal music

    NO MYSTERY ...We have to learn modern jazz harmony like Adam did ..

  • phrasing with talent in the diminished scales , outside pentatonics ..and altered pentatonics scales ..playing jazz chromatisms throw these scales ...in fact ! easy to play if you know as well as possible modal music

    NO MYSTERY ...We have to learn modern jazz harmony like Adam did ..

  • Saw Adam play twice in New York City....outstanding! One of the best musicians ...

  • zzzzzzzz

  • Wake the HELL up!

  • he is motivic. he uses a phrygian scale. his pick is angled upwards. great.

  • ITS MUSIC. MUUUSIC. PHRYGIAN WHATEVER! MUSIC MUSIC MUSIC. Everybody needs to get over there Jazz school mentality and just enjoy sounds and rhythms for what they are. Not what the equal in some Jazz school equation.

  • naw dude its phrygian for sure

  • You've missed the point. I know the modes of the major scale. But because of "Jazz Education" people don't listen to music anymore, they analyzes solos like a freakin science specimen. Phrygian, Aeolian, Lydian #9...its all just a series of notes.

  • naw dude im tellin you. its phyrgian. its mathematical dude. thats why its way above what coltrane could achieve. phrygian.

  • I know what phrygian is.

    1 - b2 - b3 - 4 - 5 - b6- b7

    My point is, music is meant to be enjoyed for what it is. To many "Jazz Schoolers" use education to justify or downplay music. It has validity, but we've taken it TO far.

  • dude that ain't phrygian. phrygian is all the dots on the guitar.

  • actually i'll just let you know now that i was joking from the beginning. sorry.

  • No problem. Just tryin to spread pure love for music. Being a jazz school student I've experienced some nasty attitudes about music.

  • me too haha.

  • @jazzmac03 I know what you mean lol

    I dno, sometimes insanely theory based music can be cool though, like periphery

  • @anonymous564 I know, I know! PEOPLE! I'm just saying insanely theory based music is not good because it's insanely theory based, It's because it's GOOD MUSIC. Music thats not insanely theory based is GOOD as well, therefore theory should not be a BASES for whats good and whats not. Some people do that A LOT.

  • @anonymous564 did you just say periphery is insanely theory based? If you're refering to the band periphery i'd say they are far from theory based, misha their guitarist has very little theory knowledge at all and most of his stuff is based on his ear and not theory at all. If you're refering to something else then ignore me completely.

  • @gretsch19 Whaa no way they are way theory based! There's no way he figures out those complex chords by ear :/ He's a producer, you have to spend a year in music school to get your recording degree.. And periphery is full of polyrhythms, those are pretty theoryful..

  • @anonymous564 haha i can't tell if you're kidding or not. But i've spoken to him and asked him if he knows much theory and he doesnt, he's just got a really awesome ear. Stuff like that could be deconstructed based on theory. but it's not written with the use of alot of theory. 

  • @gretsch19 I don't get what's funny.. Anywho, take painted in exile for example than.

  • that is how they enjoy music. so simmer down guy who knows the modes of the major scale. lol!!! we all know those.

  • @thedividedheir

    I just hate scientific judgement in music.  thats all

  • @jazzmac03 You probably wouldn't dig Boulez or Varese much then. :-)

  • @fiddlercrab3 Pierre Boulez!?!? Edgar Varese?!?! I think there both AMAZING!

  • Adam Rogers is truly an amazing player, and I have tons of respect for his clean and rediculously fast lines, but TO ME, he does not have much feel. Great improv also, however, I personally prefer Oz Noy, Wayne Krantz, or Greg Howe simply for their feel and their grove....of course, they have lightning fast chops too.

  • ...and does that guy's head have to be in the way of his right hand?!

  • @bluenotesoul Ha! Cheers for that one...

  • He's using the George Benson technique. The pick is angled upward, pinched between his thumb and index finger. Lots of Consecutive and Sweep picking. Bobby Broom, Rodney Jones, Miles Okazaki are a few guys who have also mastered this style.

  • man... monstrous.. if anybody knows adam's playing real well or if this has to do with his guitar, sound fx, or amp setup, can you tell me how he can play the way he does with his right hand out from the guitar when he picks and not have a bunch of open strings rinigng? is it because his left hand takes care of all the muting?? im stumped, it seems like the main issue i deal with in technique practicing is muting open ringing strings.

  • I think that it's just ridiculous technique. He doesn't clip strings and the solid bodied guitar doesn't feed back.

  • It has a lot to do with technique. I'm not sure how he does it because I don't use that technique, but if you started playing that way, you learn to mute the strings using the same picking technique. Marty Friedman uses a similar technique.

  • He held a masterclass that I went to at Humber College where he talked a bit about his technique and how he achieves his sound. The main thing he does differently is that he angles his pick quite a bit instead of using it flat against the string. This makes it so that the pick attacks with it's edge for both downstrokes and upstrokes. The majority of his muting is done with the left hand I believe.

  • I heard that is how George Benson picks also.

  • in his 20s, he practiced so much technique, its nuts. He has far and away the best technique of any guitarist. So I guess the secret is practice

  • It's called a floating technique. Essentially all his pick hand accuracy is muscle memory using the point his arm rests on the guitar as an anchor. Also Adam plays single note runs about 90% of the time (amazing single not runs) which should, with proper technique, have notes that are muted as the fretting hand is lifted. I apologize if that doesn't answer your question.

  • So the only 'anchor' he uses is where his forearm rests on the guitar? If the pick is 'angled upwards' does this mean that it's essentially rotated from the conventional 'hand butt on bridge' position where the pick's tip moves thru the string slightly with the left side of the pick following through?

    Meaning his 'downstroke' is biased towards the right side of the pick's point?

    I'm trying this style with little success....:-((

    Thanks.

  • "Lost Tribe" was vicious...I sure do miss that group. I hope Adam and some of the other guys are thinking about doing something together again.

  • if you think repetition is not musical, then dont listen to jazz! repetition is part of improvising, take a theme and go with it

  • Adam Rogers is one bad ass guitarist!

  • I agree with antiphones. He is one of the few improvising guitarists today who plays inventive lines. I agree that he does repeat some things from time to time, but doesn't every guitarist do that? (although I could probably name 2-3 players who don't)

  • Who doesn't repeat themselves? Really? Who?!! One guitar player everyone loooves and admires (don't worry, i like him too) Pat Metheny! You can't deny it, repeats himself. Michael Brecker, Jeff Tain Watts...(all instruments) We are human...eventually we are going to repeat ourselves!! Sometimes we may want to...to state a melodic idea, etc.

  • You are right, everybody repeat themselves. But I think people are refering to different things here. Sometimes, musicians will repeat specific lines or motifs and use those devices all over the place. To me, this is repitition, although that doesn't have to be a bad thing. In other cases, musicians will repeat line curves, improvisational structure, instrument sound etc which, IMO, is not repitition..it's just being true to your own style.

  • Who doesn't repeat themselves? Really? Who?!! One guitar player everyone loooves and admires (don't worry, i like him too) Pat Metheny! You can't deny it, repeats himself. Michael Brecker, Jeff Tain Watts...(all instruments) We are human...eventually we are going to repeat ourselves!! Sometimes we may want to...to state a melodic idea, etc.

  • I think perhaps Mick Goodrick and Lee Konitz are two players who play in a very specific style, but don't repeat one interpretation of the style, say a specific line or a voicing.. they just play freely inside that vocabulary. Or something!

  • Just curious...what gtr players in this vein don't repeat themselves?

  • I think Wayne Krantz probably comes closest to avoiding cliche in his paying: he has a whole technique devoted to it; his 'Improviser's OS' explains it (its based on the intervallic relationship between notes within improvisation as opposed to patterns or scales)

  • Comment removed

  • Kurt repeats himself. Check out some of the videos on here on Aaron Park's Nemesis. Killing and he uses a ridiculous lick on more than one occasion. I love him

  • Kurt Rosenwinkel!

  • Repetition is musically a good thing. It's melodic, and it makes you sound like you know what you're doing. Sonny Rollins repeated himself constantly. Repetition is musically a good thing. (See what I did there). It's about stating and restating an idea, whether that idea be repeated exactly, or transposed, or inverted, or retrograde.. even though that's hard to do when you're improvising.

  • Y'all are misunderstanding what they mean by "repeating himself." They're not talking about lines or phrases within one solo.

    They're saying that he plays the same lines on different songs.

    I don't know if he does or not (this is the first time I've heard him), but I just wanted to point out the miscommunication.

  • He has his own licks. What's wrong with that? The best musicians in history invented their own licks and played them everywhere. I don't get it.

  • I didn't say it. I was just clearing up the miscommunication.

    I have licks of mine that I use, and so does every guitarist. There's nothing wrong with it in my opinion, as long as it's not too blatant or obvious.

  • yeah i agree that´s a form of motivical deveplopment, and a very good one!!!

  • Motivic.

  • yeah sorry...

  • yeah it takes back all the information in the solo making it more interesting...

  • the band is killing though! Clarence penn would be worth the price of admission for sure

  • Huh? He's not repeating anything, listen more closely. In fact there are more original lines in this guy's playing than in most of the jazz guitarist out there at the moment.

  • boring player for me too...to each his own

  • those comments are ridiculous!! is a shame! You guys must have a lot of time to loose !!

    By the way, would be curious to hear you play...if you can...

  • amazing player,but it's kind of like listening to a robot.same lines on every song.great though

  • Nauseating.

  • I know, and he doesn't do any whammy bar dive bombs or pinch harmonics on top of that !

  • lol yup, ive never heard of triadic superimposition be4, im not that knowledgeable of theory

  • let me guess hes using the "Phygian" mode?

  • the melody is based around the phrygian mode, but by the time he's soloing, its all just crazy chromatic, modal and triadic superimposition all over the place. adam is ridiculous

  • just realized that we have very similar usernames

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