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Still sounds good, I’d almost move to Jersey, but I grew up there!!

Nice sounds, thanks for posting!

Awesome as always Brian! Man, I wish I could see you guys play at some point. Gotta make my way to Jersey someday!

Not sure how this ended up in my feed but wow! Right up my alley, that's for sure.

Sick!! Subscribed 🇨🇦

Yeah guys!!

Beautiful!

I really find your lessons very insightful. Its not 5 ways to blablabla, its one topic and no nonsense. If you would do a video on bebop language i would be super happy 😅

Most likely I am guilty of this. I like a GOOD vibrato but playing with a traditional tone is a different feel and has it's own charm.

Great playing, beautiful tone, the arrangement breathes but is till exciting to listen to. As always, great job!

Nice job...

Always look forward to your uploads Brian! That is again yet another tasteful arrangement for such a classic tune! Bravo!

Great help man! Thank you

Great, is that Vinne Corrao who played with Freddie Roach in the mid 60's?

I am a bass player and I also play guitar. I use the tone sometimes on 3 or 4 just to take off the metallic sound for a specific “vintage sound” from song to song, if needed. It also depends on the amp and soundman room etc. But I agree with you specially for recording leave the guitar open all the way. I would like to know if you use reverb or delay outdoors? or at any room or club. thanks!

Many thanks for that video ❤

Rock on! 🤘

Very insightful as always! Once I was listening to Grant Green's "Idle Moments" and I swear to God I heard a vibrato in one of the passages of his solo on that song. I think he had several but one was more pronounced and even I went "what?" It was fine but did not expect in jazz context. He may have controlled the the vibrato but to me it was a bit much and took away from the jazz I like. I am a mere hobbyist and still consider myself a jazz guitar beginner; however, I chose not to throw in the vibrato from my blues background. Like you said, done right, sustain takes care of that. I always look forward to your posts Brian! Thanks!

Good point you make! But wait, there's more : the rock/blues guys usually employ an even more exaggerated vibrato. It's a vertical motion, toward the ceiling and back. I used to do this myself back when I heard the Beano album in '67. Took me weeks on end to replicate Clapton's sweet singing expression. So jump a few years ahead to when the inevitable happened : wanted to do like Wes and Joe etc The vibrato sounded silly in that context...You're totally right about rock/blues guys often are on auto whenever there's a long note....shake that thing! LOL The vibrato you demonstrate here is more of a classical guitar conception, something I studied for decades and the main difference is that the pitch is moving # and b. So there's a "center" to the pitch ~~~ it's also less pronounced. But still agree with your basic points : 1) it's not part of the language of the bop and hard bop sound and 2) are you controlling vibrato, or is it controlling you. Thanks for this lesson Brian 🙏

FUCK YOU THAT CAN'T HANDLE THE TRUTH.....😊

Great work, guys!

Where can I learn to play like that?

Great stuff!

Hi mr bets i was scrolling thru youtube and saw this you used to be my music teacher 😂😮

Very lovely and well done by all

Hey Brian Betz what venue was this at at the exit 0 festival?

🔥 🔥 🔥

Very nice Brian.

really like what you did w this arrangement. E

Great arrangement as always Brian! This beautiful song written by Ann Ronel! Who can believe she also wrote "Who's Afraid of the Big Bad Wolf" . I always look forward to your posts! No BS, just jazz guitar at its best!

I go in reverse. Power amp as high as possible. This provides headroom and body. Preamp to whatever point is loud yet still clean. Guitar volume at about 70%. Tone on the amp as flat as possible. Tone on the guitar (mine is carved archtop) varies depending on the room, not emphasizing high end but also not wanting mud. Just thick, clean clear sound that sits well in the mix.

So beautiful! In first 30 seconds I felt the need to try playing it myself. Is there any chance you have some kind of sheet or just chord numbers to help me? Thanks Brian!

Nice Brian! I have been thinking that you haven’t been posting recently. Really enjoy that the melody is clearly stated. So many guitar players don’t articulate as clearly. Keep posting, love your approach. Greetings from New Zealand 🇳🇿

Very nice! Informative.

What kind of picks and string do you use?

I been looking for this clip great lesson on this style

I used to play the dunlop flow 2 mm ones but have gone back to 1.5 mm dunlops or gravity. As you say the fatter pick gives a warmer sound and smoother attack. However, I feel I loose connection to the guitar with the heavier pick, and it is easier to play the thinner pick as you mention. I like resonating guitars because I can feel the vibrations from the instrument, same thing with the thinner pick vs the heavier one.

Love your videos. No nonsense really and straight to the point.

You have really hit on something there! I put in decades on classical guitar and like you I found it was all about THE SOUND. As a jazz player for the last three decades, I noticed that it was the tone that the guys who inspired and spoke to me, sounded great [their playing sound I mean...not just their amazing lines, but their tone] My guys are Wes and Pat, with a dispensation for Joe Pass 😎 To mention your pick video that I just saw, together with this dharma talk on note length, I reckon this is the motherlode for jazz guitarists. BTW, re the picks, I have been using the Golden Gate picks that are like a triangle with all the corners rounded off. Every note you play can sound like you played it with you thumb. They're just regular priced, nothing you'd be afraid to lose. I got turned onto them by Bobby Broom! Thank God for some sanity on this crazy scene man. What a relief to find someone who cares about this stuff. Best wishes from New Zealand!!

Very informative Brian, thank you. Its good to hear a genius level master talent such as yourself, stressing how critically important it is for a player to go deep. For them to express the notes with a specific and PERSONAL feel. It is through this that a person can develop a life long relationship that continuously gives.

Thomastick pure nickel flat wound 12-50. By far the most intimate experience Ive ever had with the guitar.

Just 3 weeks ago i started combo in my music school and we are a clarinet, 2 guitars, piano and bass and drums. After playing the first tune ( i am one of the guitar players) the teacher just explain to us the same thing you are telling , becouse all 3 were comping at the same time and It was a mess 😂 its better take turns and like you said its better nowing when play and when not to play the important thing is serve the music and let the other play insted of playing all the time and having fun butt making everithing sounds wourse, great video demostraiting some techics i didnt now 👍😁 sorru for my bad english 🤣

now searching for a Zoot Sims video :)

right on, and well said -- harder to do though, because we all want to play -- but I can't dispute the logic in what you've just presented, and I agree that the most musical option is to lay out.

Great advice Brian. A lot of times high school instructors never even address this comping dynamic between the guitar and piano (they themselves might not be aware of it with their ears). I think "Paraphernalia" on the Miles in the Sky album is a great example of George Benson showing comping restraint alongside piano.

every pick/ fingers has different plus’s and minus’s each musician must a personal decision! …ps..you still sound great on all👍🏽

I loved your "tone to 10" tip. Thank you!

Do you use the pick regularly or do you turn it from the roundest part?

Wow! Just wow! More of this Brian! Awesome!!!