Chords for Joe Bonamassa and George Benson Jazz and Blues Common Threads
Tempo:
116.9 bpm
Chords used:
G
Abm
A
E
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hi, I'm Joe Bonamassa.
Hi, I'm George Benson and we're here at the Comerica
Theatre in Phoenix, Arizona.
Well for me, you know, jazz was always with the
real musicians musicians played, you know, because, you know, as a blues [A] guy I'm
kind of constrained to a [E] one, four, and a five, and I've learned how to play over
those changes.
But if I get into a world where there's some, I call them adult
chords, that's that's what I turn off, you know, and I was always really
intrigued by how people can anticipate the movement of the of the chord changes
and solo over that, you know, and it's always something I've just recently
[B] tried to get my head around, but it's it's really it's [G] really it's really fun
and I was that's why I said there's been blues and jazz over the real music
like jazz, you know.
Well, you know, everything begins with one and blues
definitely, which basically had its beginnings in in the South.
New Orleans
took the blues and turned it into a new music we called New Orleans jazz, but it
definitely had blues roots.
And so like you just mentioned, man, it's a [Bb] very
interesting thing.
Those simple chords are what jazz [N] people elaborate on.
What
they do is they add different colors to them because they found out through
other musics that how one note can make the difference in the emotion of a chord
or give it a different color and make it sound sad or happy and that's what I've
been involved in for many years because I started off playing blues, but I found
out I couldn't keep up with a lot of the cats.
I came from a great city of great
players, Pittsburgh, Pennsylvania, and a lot of people came through who played
blues.
I said, well, I'm never gonna be as good as those cats, so let me try
someone else.
So I tried to hang out with the jazz players, but what you said was
very, very interesting, man.
You're a pretty honest kind of guy.
I like that.
You know, I grew up listening to all kinds of music and I've always, my
goal every day when I wake up is to try to find music I haven't heard before and
be a sponge, you know, whether it be like a B.B. King, you know, he plays one note,
you know where it is, you know, that's B.B. King, yeah, but also in the context of
jazz, I always really got a lot of ideas on guitar from listening to sax players
and horn players and where Miles would put his fills was never on the one, it
was a one and, it was a lazy one, but it's like to try to figure that stuff out, it
really kind of opened up this whole door for me as far as being a soloist and
your phrasing became infinite at that point, you know, all this stuff you can do
and just by listening to, you know, the hybrid of blues and jazz.
Well, he mentioned a lot of names earlier, people that we both admire and there
ain't many people that we don't because we know what this industry is about and
[G] how much it takes to get to be known and remembered by people and the people I
mentioned at the forefront of my inspiration, yeah, well he just mentioned
one, a gigantic one, B.B. King and I like him because his personality shows up on
everything he plays, he touches it and like you said, he can play one note and
you know instantly who it is by the rate of his vibrato, the intensity of the note,
the energy that comes from his use of the amplifier, nobody uses it better.
I think, you know, B.B. King, especially the Chicago style jump blues, T-Bone
Walker, he was, you know, he was using adult chords.
I actually met him, you know, he's
before your time though, isn't he?
Yes, I would have loved to have met him, you know, but he was the guy
inspired me to, you know, people like B.B. King and, you know, when you'd see like
Muddy, you know, people like Muddy Waters in the 60s, they were dressed up, they
were like, they had the nice suits on, I was like, that's kind of where I took the whole idea from and
I [Abm] think T-Bone Walker and [N] really in the jump blues scene out of Chicago really
was the beginnings of the hybrid jazz where the blues guys were just going, okay,
we [Gm] know the fancy, you know.
I think Jimi [Db] Hendrix got his name behind the neck from T-Bone.
And he used to play almost, I saw some pictures, he would play flat, [Eb] [Abm] you know,
you go, wow, it's like incredible, but it's part of that sound.
He was a happy guy, you
know, he'd come in the club, man, he's like from the real old school, right, and
he was like, like he knew you all of his life.
Yeah.
I had just been on the road
like maybe three months and I met him in LA, he walked in the club, well, boy, you know, you're
gonna be a good guitar player, man.
He said, how old are you?
I said, I was 19 then.
And I saw him maybe a
couple of [Em] times and he didn't live much longer than that, you know, and he played
with his teeth, I saw him play with his teeth and behind his neck and so forth, but he
was also a B.B. King favorite guitar player.
He loved T-Bone Walker and I know why, man.
He had it all, he had personality.
He was a superstar.
You see, like, there's not very, there's very little
footage of him playing, like on video, but you just see the pictures and the energy
that comes out of the picture.
There's that great picture of him with the ES-5
behind his back doing like a split on stage and you can go, man, if I can just
be at any concert ever, I would want to have been there just to see what that
kind of, how that energy, you know, but there's so many great ones, you know.
Tau Farlow and Kenny Burrell and of course Wes Montgomery, Grant Green was a gigantic
influence on my playing.
He taught me how to play the melody, how to get the most
out of the melody, because to me, if you can't sell me the melody, then the rest
of it has no meaning.
I won't remember the song and that's the thing that
Charlie Parker did so well and B.B. King does so well.
Once they do a song, you hear
that melody.
Whatever they do underneath that, you never get away from hearing the
melody, so you can sing along with all the improvisation.
To me, that's the mark of a master.
Hi, I'm George Benson and we're here at the Comerica
Theatre in Phoenix, Arizona.
Well for me, you know, jazz was always with the
real musicians musicians played, you know, because, you know, as a blues [A] guy I'm
kind of constrained to a [E] one, four, and a five, and I've learned how to play over
those changes.
But if I get into a world where there's some, I call them adult
chords, that's that's what I turn off, you know, and I was always really
intrigued by how people can anticipate the movement of the of the chord changes
and solo over that, you know, and it's always something I've just recently
[B] tried to get my head around, but it's it's really it's [G] really it's really fun
and I was that's why I said there's been blues and jazz over the real music
like jazz, you know.
Well, you know, everything begins with one and blues
definitely, which basically had its beginnings in in the South.
New Orleans
took the blues and turned it into a new music we called New Orleans jazz, but it
definitely had blues roots.
And so like you just mentioned, man, it's a [Bb] very
interesting thing.
Those simple chords are what jazz [N] people elaborate on.
What
they do is they add different colors to them because they found out through
other musics that how one note can make the difference in the emotion of a chord
or give it a different color and make it sound sad or happy and that's what I've
been involved in for many years because I started off playing blues, but I found
out I couldn't keep up with a lot of the cats.
I came from a great city of great
players, Pittsburgh, Pennsylvania, and a lot of people came through who played
blues.
I said, well, I'm never gonna be as good as those cats, so let me try
someone else.
So I tried to hang out with the jazz players, but what you said was
very, very interesting, man.
You're a pretty honest kind of guy.
I like that.
You know, I grew up listening to all kinds of music and I've always, my
goal every day when I wake up is to try to find music I haven't heard before and
be a sponge, you know, whether it be like a B.B. King, you know, he plays one note,
you know where it is, you know, that's B.B. King, yeah, but also in the context of
jazz, I always really got a lot of ideas on guitar from listening to sax players
and horn players and where Miles would put his fills was never on the one, it
was a one and, it was a lazy one, but it's like to try to figure that stuff out, it
really kind of opened up this whole door for me as far as being a soloist and
your phrasing became infinite at that point, you know, all this stuff you can do
and just by listening to, you know, the hybrid of blues and jazz.
Well, he mentioned a lot of names earlier, people that we both admire and there
ain't many people that we don't because we know what this industry is about and
[G] how much it takes to get to be known and remembered by people and the people I
mentioned at the forefront of my inspiration, yeah, well he just mentioned
one, a gigantic one, B.B. King and I like him because his personality shows up on
everything he plays, he touches it and like you said, he can play one note and
you know instantly who it is by the rate of his vibrato, the intensity of the note,
the energy that comes from his use of the amplifier, nobody uses it better.
I think, you know, B.B. King, especially the Chicago style jump blues, T-Bone
Walker, he was, you know, he was using adult chords.
I actually met him, you know, he's
before your time though, isn't he?
Yes, I would have loved to have met him, you know, but he was the guy
inspired me to, you know, people like B.B. King and, you know, when you'd see like
Muddy, you know, people like Muddy Waters in the 60s, they were dressed up, they
were like, they had the nice suits on, I was like, that's kind of where I took the whole idea from and
I [Abm] think T-Bone Walker and [N] really in the jump blues scene out of Chicago really
was the beginnings of the hybrid jazz where the blues guys were just going, okay,
we [Gm] know the fancy, you know.
I think Jimi [Db] Hendrix got his name behind the neck from T-Bone.
And he used to play almost, I saw some pictures, he would play flat, [Eb] [Abm] you know,
you go, wow, it's like incredible, but it's part of that sound.
He was a happy guy, you
know, he'd come in the club, man, he's like from the real old school, right, and
he was like, like he knew you all of his life.
Yeah.
I had just been on the road
like maybe three months and I met him in LA, he walked in the club, well, boy, you know, you're
gonna be a good guitar player, man.
He said, how old are you?
I said, I was 19 then.
And I saw him maybe a
couple of [Em] times and he didn't live much longer than that, you know, and he played
with his teeth, I saw him play with his teeth and behind his neck and so forth, but he
was also a B.B. King favorite guitar player.
He loved T-Bone Walker and I know why, man.
He had it all, he had personality.
He was a superstar.
You see, like, there's not very, there's very little
footage of him playing, like on video, but you just see the pictures and the energy
that comes out of the picture.
There's that great picture of him with the ES-5
behind his back doing like a split on stage and you can go, man, if I can just
be at any concert ever, I would want to have been there just to see what that
kind of, how that energy, you know, but there's so many great ones, you know.
Tau Farlow and Kenny Burrell and of course Wes Montgomery, Grant Green was a gigantic
influence on my playing.
He taught me how to play the melody, how to get the most
out of the melody, because to me, if you can't sell me the melody, then the rest
of it has no meaning.
I won't remember the song and that's the thing that
Charlie Parker did so well and B.B. King does so well.
Once they do a song, you hear
that melody.
Whatever they do underneath that, you never get away from hearing the
melody, so you can sing along with all the improvisation.
To me, that's the mark of a master.
Key:
G
Abm
A
E
B
G
Abm
A
_ _ _ Hi, I'm Joe Bonamassa.
Hi, I'm George Benson and we're here at the Comerica
Theatre in Phoenix, Arizona.
Well for me, you know, jazz was always with the
real musicians musicians played, you know, because, you know, as a blues [A] guy I'm
kind of constrained to a [E] one, four, and a five, and I've learned how to play over
those changes.
But if I get into a world where there's some, I call them adult
chords, that's that's what I turn off, you know, and I was always really
intrigued by how people can anticipate the movement of the of the chord changes
and solo _ over that, you know, and it's always something I've just recently
[B] tried to get my head around, but it's it's really it's [G] really it's really fun
and I was that's why I said there's been blues and jazz over the real music
like jazz, you know.
Well, you know, everything begins with one and blues
definitely, which basically had its beginnings in in the South.
New Orleans
took the blues and turned it into a new music we called New Orleans jazz, but it
definitely had blues roots.
And so like you just mentioned, man, it's a [Bb] very
interesting thing.
Those simple chords are what jazz [N] people elaborate on.
What
they do is they add different colors to them because they found out through
other musics that how one note can make the difference in the emotion of a chord
or give it a different color and make it sound sad or happy and that's what I've
been involved in for many years because I started off playing blues, but I found
out I couldn't keep up with a lot of the cats.
I came from a great city of great
players, Pittsburgh, Pennsylvania, and a lot of people came through who played
blues.
I said, well, I'm never gonna be as good as those cats, so let me try
someone else.
So I tried to hang out with the jazz players, but what you said was
very, very interesting, man.
You're a pretty honest kind of guy.
I like that.
You know, I grew up listening to all kinds of music and I've always, my
goal every day when I wake up is to try to find music I haven't heard before and
be a sponge, you know, whether it be like a B.B. King, you know, he plays one note,
you know where it is, you know, that's B.B. King, yeah, but also in the context of
_ _ jazz, I always really got a lot of ideas on guitar from listening to sax players
and horn players and where Miles would put his _ fills was never on the one, it
was a one and, it was a lazy one, but it's like to try to figure that stuff out, it
really kind of opened up this whole door for me as far as being a soloist and
your phrasing became infinite at that point, you know, all this stuff you can do
and just by listening to, you know, the hybrid of blues and jazz.
Well, he mentioned a lot of names earlier, people that we both admire and there
ain't many people that we don't because we know what this industry is about and
[G] how much it takes to get to be _ known and remembered by people and the people I
mentioned at the forefront of my inspiration, yeah, well he just mentioned
one, a gigantic one, B.B. King _ and I like him because his personality shows up on
everything he plays, he touches it and like you said, he can play one note and
you know instantly who it is by the rate of his vibrato, the intensity of the note,
the energy that comes from his use of the amplifier, nobody uses it better.
I think, you know, B.B. King, especially the Chicago style jump blues, T-Bone
Walker, he was, you know, he was using adult chords.
I actually met him, you know, he's
before your time though, isn't he?
Yes, I would have loved to have met him, you know, but he was the guy
inspired me to, you know, people like B.B. King and, you know, when you'd see like
Muddy, you know, people like Muddy Waters in the 60s, they were dressed up, they
were like, they had the nice suits on, I was like, that's kind of where I took the whole idea from and
I [Abm] think T-Bone Walker and [N] really in the jump blues scene out of Chicago really
was the beginnings of the hybrid jazz where the blues guys were just going, okay,
we [Gm] know the fancy, you know.
I think Jimi [Db] Hendrix got his name behind the neck from T-Bone.
And he used to play almost, I saw some pictures, he would play flat, [Eb] _ _ _ _ _ [Abm] you know,
you go, wow, it's like incredible, but it's part of that sound.
He was a happy guy, you
know, he'd come in the club, man, he's like from the real old school, right, and
he was like, like he knew you all of his life.
Yeah.
I had just been on the road
like maybe three months and I met him in LA, he walked in the club, well, boy, you know, you're
gonna be a good guitar player, man.
He said, how old are you?
I said, I was 19 then.
_ And I saw him maybe a
couple of [Em] times and he didn't live much longer than that, you know, _ and he played
with his teeth, I saw him play with his teeth and behind his neck and so forth, but he
was also a B.B. King favorite guitar player.
He loved _ T-Bone Walker and I know why, man.
He had it all, he had personality.
He was a superstar.
You see, like, there's not very, there's very little
footage of him playing, like on video, but you just see the pictures and the energy
that comes out of the picture.
There's that great picture of him with the ES-5
behind his back _ doing like a split on stage and you can go, man, if I can just
be at any concert ever, I would want to have been there just to see what that
kind of, how that energy, you know, but there's so many great ones, you know.
Tau Farlow and Kenny Burrell and of course Wes Montgomery, Grant Green was a gigantic
_ _ _ influence on my playing.
He taught me how to play _ _ the melody, how to get the most
out of the melody, because to me, if you can't sell me the melody, then the rest
of it has no meaning.
I won't remember the song and that's the thing that
Charlie Parker did so well and B.B. King does so well.
Once they do a song, you hear
that melody.
Whatever they do underneath that, you never get away from hearing the
melody, so you can sing along with all the improvisation.
To me, that's the mark of a master. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
Hi, I'm George Benson and we're here at the Comerica
Theatre in Phoenix, Arizona.
Well for me, you know, jazz was always with the
real musicians musicians played, you know, because, you know, as a blues [A] guy I'm
kind of constrained to a [E] one, four, and a five, and I've learned how to play over
those changes.
But if I get into a world where there's some, I call them adult
chords, that's that's what I turn off, you know, and I was always really
intrigued by how people can anticipate the movement of the of the chord changes
and solo _ over that, you know, and it's always something I've just recently
[B] tried to get my head around, but it's it's really it's [G] really it's really fun
and I was that's why I said there's been blues and jazz over the real music
like jazz, you know.
Well, you know, everything begins with one and blues
definitely, which basically had its beginnings in in the South.
New Orleans
took the blues and turned it into a new music we called New Orleans jazz, but it
definitely had blues roots.
And so like you just mentioned, man, it's a [Bb] very
interesting thing.
Those simple chords are what jazz [N] people elaborate on.
What
they do is they add different colors to them because they found out through
other musics that how one note can make the difference in the emotion of a chord
or give it a different color and make it sound sad or happy and that's what I've
been involved in for many years because I started off playing blues, but I found
out I couldn't keep up with a lot of the cats.
I came from a great city of great
players, Pittsburgh, Pennsylvania, and a lot of people came through who played
blues.
I said, well, I'm never gonna be as good as those cats, so let me try
someone else.
So I tried to hang out with the jazz players, but what you said was
very, very interesting, man.
You're a pretty honest kind of guy.
I like that.
You know, I grew up listening to all kinds of music and I've always, my
goal every day when I wake up is to try to find music I haven't heard before and
be a sponge, you know, whether it be like a B.B. King, you know, he plays one note,
you know where it is, you know, that's B.B. King, yeah, but also in the context of
_ _ jazz, I always really got a lot of ideas on guitar from listening to sax players
and horn players and where Miles would put his _ fills was never on the one, it
was a one and, it was a lazy one, but it's like to try to figure that stuff out, it
really kind of opened up this whole door for me as far as being a soloist and
your phrasing became infinite at that point, you know, all this stuff you can do
and just by listening to, you know, the hybrid of blues and jazz.
Well, he mentioned a lot of names earlier, people that we both admire and there
ain't many people that we don't because we know what this industry is about and
[G] how much it takes to get to be _ known and remembered by people and the people I
mentioned at the forefront of my inspiration, yeah, well he just mentioned
one, a gigantic one, B.B. King _ and I like him because his personality shows up on
everything he plays, he touches it and like you said, he can play one note and
you know instantly who it is by the rate of his vibrato, the intensity of the note,
the energy that comes from his use of the amplifier, nobody uses it better.
I think, you know, B.B. King, especially the Chicago style jump blues, T-Bone
Walker, he was, you know, he was using adult chords.
I actually met him, you know, he's
before your time though, isn't he?
Yes, I would have loved to have met him, you know, but he was the guy
inspired me to, you know, people like B.B. King and, you know, when you'd see like
Muddy, you know, people like Muddy Waters in the 60s, they were dressed up, they
were like, they had the nice suits on, I was like, that's kind of where I took the whole idea from and
I [Abm] think T-Bone Walker and [N] really in the jump blues scene out of Chicago really
was the beginnings of the hybrid jazz where the blues guys were just going, okay,
we [Gm] know the fancy, you know.
I think Jimi [Db] Hendrix got his name behind the neck from T-Bone.
And he used to play almost, I saw some pictures, he would play flat, [Eb] _ _ _ _ _ [Abm] you know,
you go, wow, it's like incredible, but it's part of that sound.
He was a happy guy, you
know, he'd come in the club, man, he's like from the real old school, right, and
he was like, like he knew you all of his life.
Yeah.
I had just been on the road
like maybe three months and I met him in LA, he walked in the club, well, boy, you know, you're
gonna be a good guitar player, man.
He said, how old are you?
I said, I was 19 then.
_ And I saw him maybe a
couple of [Em] times and he didn't live much longer than that, you know, _ and he played
with his teeth, I saw him play with his teeth and behind his neck and so forth, but he
was also a B.B. King favorite guitar player.
He loved _ T-Bone Walker and I know why, man.
He had it all, he had personality.
He was a superstar.
You see, like, there's not very, there's very little
footage of him playing, like on video, but you just see the pictures and the energy
that comes out of the picture.
There's that great picture of him with the ES-5
behind his back _ doing like a split on stage and you can go, man, if I can just
be at any concert ever, I would want to have been there just to see what that
kind of, how that energy, you know, but there's so many great ones, you know.
Tau Farlow and Kenny Burrell and of course Wes Montgomery, Grant Green was a gigantic
_ _ _ influence on my playing.
He taught me how to play _ _ the melody, how to get the most
out of the melody, because to me, if you can't sell me the melody, then the rest
of it has no meaning.
I won't remember the song and that's the thing that
Charlie Parker did so well and B.B. King does so well.
Once they do a song, you hear
that melody.
Whatever they do underneath that, you never get away from hearing the
melody, so you can sing along with all the improvisation.
To me, that's the mark of a master. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _