Chords for Larry Coryell - Advice for Up and Coming Musicians

[A] _ _ _ [C] _ _ [A] _ _ _
[E] _ _ [A] _ _ [Gb] _ _ _ _
_ [Gbm] _ [A] _ _ _ Hi, I'm [G] Larry Curiel [Gb] and I rock jazz. _ _ _ _ _ _ _
_ _ Well, you've got to get a good teacher.
_ _ [N] Hope _ _ _ that you have enough good fortune to _ _ _ avail yourself of a good teacher who can really lay it on you the right way,
because there can be a lot of jive, _ _ _ _ in my opinion, a lot of extraneous information that you may not need.
The main thing is a teacher that will inspire you simply by example.
_ _ [G] _
[D] And, you know, [Em] _ _ [D] _ _ [Am] _
_ _ _ [G] _ _ [A] _ _ _
[F] _ _ [D] _ [G] _ _ [F] _ _ _
_ [D] _ _ [C] _ _ _ _ _
[D] _ _ [Em] _ [F] _ _ [G] _ [Gb] _ _
[Bb] _ _ just [E] get that, learn the, _ develop the capacity to play in a jazz [Bb] way.
So this is like _ _ _ short chords, short [Bbm] notes, _ _ nothing to do with folk music or classical music,
but you should also understand folk music, you should learn [Am] some classical music. _ _
_ _ [Dm] _ [E] Just _ [F] _ _
_ [Am] _ _ _ [Dm] _ _ _ [A] _
_ [Bb] _ [A] _ _ _ [Bm] _ _ [C] _
_ _ [Gm] _ [D] _ [E] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ to get the feel for _ [N] the way that was Ravel, you know, the way that stuff, and it's technically _
_ [Em] challenging.
[D] _ _ _ _ [G]
Look _ [Bm] _ _ at [E] that stretch.
_ _ [D] _ _ [G] _ _ _ [Bm] _
_ _ _ _ [E] _ [Em] Start, it just gives you [Bb] perspective, _ helps you with your technique.
But the jazz feeling is _ the most important.
If you don't have, if you're [E] not feeling it [Bb] right,
you're just wasting, [F] in my opinion, you're just wasting [Bb] your time.
_ Jazz is, in my [N]
view, it's an African American experience.
You don't have to be an African American to play it, but you have to understand,
_ _ _ _ you have to understand it, _ the way it was conceived, and the way that _ certain important musicians,
_ I mean, they make all kinds of stuff that, _ _ you know, like, _ people in general society would think are mistakes.
_ _ Like the first time I heard _ Miles Davis, I thought he was just making a lot of mistakes. _
_ And then I, when I listened a little bit closer, it [A] started to make sense.
_ [Gb] _ _
[A] _ _ _ It [E] started to [F] make really nice, [Gb] you know, Miles, Freddie Hubbard, _ _ _ Thelonious, [Ab] _ _ [A] Thelonious, man.
[Eb] _ [Am] _ _
_ _ [D] _ [Gm] _ [E] _ [D] _ _ _
_ _ [A] _ [Ab] _ [Bm] _ _ _ [A] _
_ _ _ _ All that [E] dissonance.
_ _ [A] _ _ _ _ _ _
_ _ _ [N] _ Thelonious, he was the greatest, man.
_ _ Jabbed at the piano, he did.
_ _ _ _ _ _ _ _
_ _ _ _ It's important to develop your own voice.
You have to decide what you want to do.
At the beginning of your career, say when you hit 18 or 19, you're committed.
Okay, what do I want to do? _
_ _ _ _ And once you decide, if you want to be a serious [Bb] player, _ [C] _ play all the right notes,
then you've got to, you have to behave accordingly. _ _ _ _ _
_ _ _ _ _ Well, you do have to work.
[Abm] You have to work on your art.
You have to work on your music.
And [Bb] if you are given talent, if you inherit talent, you [B] have a responsibility to develop it.
[E] _ _ _ _ [D] _ _ _
_ _ _ _ _ So I need to practice all the [G] time.
[Dm] _ _ _ _ _
_ _ _ Well, it _ _ [Ab] _
really [Bb] translates to when I'm not on the road, make sure I play at least [N] once a day, just to keep everything.
Because when I'm home, not on the road, I'm usually composing.
I've been doing a lot of composing.
_ [Eb] _ _ _ _ _ _
_ _ _ _ _ _ _
What motivates me, _ depending on what I'm doing, [D] you know,
_ _ _ [N] _ _ _
_ what motivates me now is if I have an idea that I want to promulgate upon the public,
_ _ _ excuse me, an idea that I feel _ needs to be [Bbm] _ _
made _ _ _ _ _ _ _ prevalent,
_ _ _ _ [N]
then I _ compose _ _ _ with the intention [A] of making sure that people [G] understand, [Am] like,
_ [Gm] _ _ [Em] _ [F] _ _ [Gb] _
_ [C] _ _ _ this is [Em] the background [Eb] to my arrangement [Abm] of Amazing [Eb] Grace, _ which I wrote in [Gb] honor of Dr.
Martin Luther King.
[E] _ And then I wrote several pieces about Dr.
King. _ _ _ _ _ _
_ _ When his church was burned, I wrote a song about that. _ _ _
[Gm] _ _ _ [B] _ _ _ _ [C] _
_ _ _ [Bb] _ _ [G] _ _ _
[Gb] _ _ [F] _ _ _ [E] _ _ _
_ _ _ [Em] _ _ _ [Bb] _ _
_ _ [Fm] _ _ _ [E] _ _ _
_ _ [Bb] _ _ I tried to play, I tried to create a composition that was bluesy _
_ [N] and also reflected the enormous emotional impact of the burning of his church. _
You [C] know, because [Bb] it _ _ _ _ goes_
[Dm] _ _ _ [Gbm] _ _
_ and [Ab] _ _ _ _ _
_ _ [Em] _ _ _ _ [Gm] _ _
_ _ _ _ _ _ [C] _ _
[D] _ _ _ [C] _ _ _ _ _
[Gm] _ _ _ [C] _ _ _ _ _
[Em] _ _ [C] _ [Bbm] _ _ [Eb] _ _ [E] _
_ [Am] _ _ [C] _ _ [Gm] _ _ _
_ _ _ _ _ _ _ [F] _
[Gb] then it goes on up [Bbm] to another key.
[E] _ _ _
_ _ _ [Ab] _ _ _ _
But it [Em] makes a little variation.
It's not a mirror [Bb] image of the first section. _
_ _ _ [N] _ _ _ And I called that project Montgomery, _ _ _ _ about the Montgomery bus boycott.
And what I wanted to do was communicate [Bbm] the importance [N] of Dr.
King's behavior during that time,
which was he _ became different.
He changed as a human being.
[Bb] He did what we call in Buddhism as human revolution.
_ And a human revolution in just a single [N] individual can change history, and that's what [Bbm] happened.
_ _ [B] And I want [F] people to [N] be aware that they can also _ _ _ generate their own human revolution. _
It's _ about changing. _
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