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Discussion in 'Sidewinders Bar & Grille' started by montemerrick, Feb 19, 2018.
Check this out. One guy plays it, the other guy owns it.
Dang, I got all ready to lay down a track and found out the original Peg backer is gone. Can anyone re-post it?
The dude that owned it wrote it . I hear what you are saying. Santana's playing style is just so different from the song. Santana has that 70's fusion thing going on. I suspect we'd hear the same thing in reverse if they jammed on Black Magic Woman.
Interesting to hear what makes Benson's parts intriguing isn't the flash...it the phrasing and tone. Those double stops are super cool and jazzy sounding.
Actually written by Bobby Womack, and performed by Gabor Szabo and Womack on 'High Contrast'
5 years before Benson had a mega-hit with it... see the first post in the thread:
But Benson is always amazing!
Bobby Womack wrote the song, and from wiki:
"Gábor Szabó, a Hungarian jazz guitarist, recorded the original version of title track "Breezin'"
OK, so Benson didn't write the song. I think you get what I mean though...Benson plays it all the time, Carlos Santana not so much.
Not what I mean. Not even close.
Owned , as in get the better of. Santana was playing with his testicles, Benson was playing with his heart,mind, and soul.
I would have loved to hear Carlos play without the distortion. Context is everything, and the fusion vibe falls flat in this context. The tune tells you what to play. Benson is inside the tune, Santana is on top of it.
Lacquer blends with subsequent coats. Becomes part of the underlying coat.
Polyurethane layers on top of underlying coats. It doesn't blend, it sits on top.
Benson is lacquer, Santana is polyurethane.
All my opinion of course.
I posted the Midnight Special clip to show what to expect from this workshop environment. The above critique is the type of thing we'll be addressing here. It's not about jamming. Its about the music, and how the music is played. How to get inside the tune and be a part of it, not something slapped on top.
I'll second the concept that you can superficially play a tune and not really get "in" the music.
That was a perfect example - slapping 70's fusion playing over a tune that needed another whole approach is precisely the way to show how even a great player (in another genre) needs to know his stuff in wider context.
As someone that grew up with the "studio guitarist" as the ideal - a player that can sight-read, improvise, and cover any genre - I applaud the need to really learn you stuff.
Maybe you missed my post further up.
I do agree with what you are saying...I was suggesting Benson sits in the song much better than Santana since Benson plays it all of the time and it suits his playing style.
I get what you're saying but I disagree with the premise.
It's four chords. The rhythm changes. I/vi/ii/V. It's like playing Mary Had A Little Lamb or Twinkle Twinkle Little Star. You don't have to play it all the time to be able to get it. Honestly, it's beginner stuff.
That's much more to the point than how often either player performs the song.
It's an easy set of chords - one key.
A jazz player like Benson could play this song for the first time and be more on it than Santana.
A word for Santana:
he is known for his own style and tone - perhaps he CAN play in jazz style but chose to use his public style?
And yes, It would be interesting to hear Benson play on "Black Magic Woman" (which Santana did NOT write).
i'd agree with the familiarity angle to explain George Benson's approach - both because of what i hear and also this little gem found in The Guitar Handbook:
"I spent a lot of time teaching myself theory and harmony so I could be free to express myself on the instrument. I learned what relatives and substitutes could be played against a root of a chord, like E minor related to G, and so forth. I've also gathered all this knowledge because for ten years all I've done is play jazz, every day." - George Benson
Great minds think alike; and so do we.
IMO, he'd own him there too. Graciously owned.
Alright, I see where you guys are coming from.
Using a Telecaster for jazz?
Benson, as a "real" jazz player, has the ear and knowledge to play literally anything, at least harmonically.
That's the point about so-called "jazz" theory (really borrowed from classical theory) - when a player knows how to play through chord changes, there's no limits on what material he can play.
Here's a guy that had an ear - and the chops - to play jazz tunes!
a noble tradition!
Here's two players who did it all the time:
I've done it a lot, particularly with my Tele and neck P90.
some of the best:
I had posted the same tune as dogletnoir so instead