![]() ![]() There's also this whole other side to your playing with blues rock. And the videos were useful, because you could figure out the fingerings that they were using, which obviously you don't get off a recording." So I'd just transcribe things I liked from records and videos that I saw as well. "The majority of what I learned from was videos and audio. ![]() So I used to go on and kind of look at the players and, and transcribed bits I liked. ![]() There was footage of gigs too – just camcorders at the back of gypsy jazz festivals and stuff like that. "There wasn't a lot, I don't think there was as much tutorial stuff on YouTube but there were videos of jam sessions, which were useful. Was YouTube any help when you were learning this style or was it still taking off in terms of video tuition? The majority of what I learned from was videos and audio And learning vocabulary in this way is how you kind of develop your own vocabulary, because you'll naturally pick ideas you like from different phrases, and that will become part of your improvising fingerprint, if you will." And we call them licks, but really, for me, they're short studies that give you an example of how you might play over a chord change, like a 251, or something like that. "Obviously that book is packed full of phrases that you can use. ![]() That's when you start putting your kind of improvising vocabulary together."Ī post shared by Remi Harris photo posted by onĪnd when players do get to the stage of learning licks they should get your book – 100 Gypsy Jazz Licks! And then gradually start to learn some lines, maybe learn a few short solos, licks, phrases, that kind of thing. And then get jamming as soon as possible. "So learn some chord shapes, learn how to play some swing rhythm, and learn some chord sequences – the whole sequences to jazz standards. That's like the foundations of the music. And you've got to know the standards – the chord sequences, because all the lead stuff makes no sense if there's no standard sequence that it goes over the top of. I know everybody wants to get straight into the flashy lead stuff but you've got to start with the chords because you need to be able to play rhythm parts well. "I would say first start with learning chords. But where should a guitar player start with learning gypsy jazz? It's a great gateway to jazz for a rock player because of its energy and melody. I know everybody wants to get straight into the flashy lead stuff but you've got to start with the chords because you need to be able to play rhythm parts well It's quite social music, so it's good to be involved with that." And there are a few festivals over here, as well, that we used to go to and play and hang out and jam. "I'd come back every year with a list of things that I want to kind of work on – songs that I need to learn and all this kind of thing. And that opened up a whole world to me, because I'd be getting involved in jam sessions with people from all over the world. And then I started going to the Samois-sur-Seine festival in France, the Django Reinhardt festival. It was a good chance to get together, and play all night sometimes just jamming on tunes. "There is more so now I think, but I had a few mates back then when I first started getting into it, and we used to jam. What was it like for you, as a young guy getting into gypsy jazz – was there a community in the UK for it when you started? Remi with fellow gypsy jazz guitarist Chris Nesbitt (left) and longtime collaborator, bassist Tom Moore (centre) (Image credit: Dani Harris ) ![]()
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