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Tequila
Here is a popular tune that most everybody will know. We follow Larry Carlton's jazzy rearrangement of the tune. The tune sits back into some nice grooves and features a nice modulation from D to E for the guitar solo.
The Stumble
This is a famous Blues instrumental among Blues guitarists. The great Peter Green covered the tune with John Mayall and the Bluesbreakers. What sets this Blues tune apart is its interesting chord progression, especially in the breaks. After moving from an IV to a I progession, the tune then offers four stops at I, I7, IV, #IVdim(!). What makes these stops particularly slick is the movement of a smooth ascending bass line E, G#, A, A#. Also, the progression ends with the somewhat unusual (at least for the Blues) progression of I, V, II, V, I, V.
Roll With It
This song is all about groove. This comes through quite clearly in Steve Winwood's original performance. But we have taken up Larry Carlton's version in which he ingeniously augments the groove by laying it back . . . way back. Adding to this, Larry's arrangement features some very tasty embellished chords and of course his matchless guitar work. A very slick tune.
All Blues
Larry Carlton and Steve Lukather offer dueling guitars on this remake of a jazz standard. The song vacillates between soft tasty licks to the very powerful, rock-like articulation of the song's theme.
Europa
This Latin-based instrumental is probably among the most popular rock instrumentals of all time. The repeated ascending and descending melody line plays nicely against some compelling, symmetrical, chord changes. But in the end, the tune is really all about passion.
Club 1509
I find myself liking almost everything I hear from the soulful and inventive sax player, Gerald Albright. What is especially attractive about this tune is its deep funkiness. Accordingly, the tune features some down bass work with some key fills. The down and dirty funky groove that characterizes most of the song is set off nicely by a highly melodic bridge, providing just the right needed contrast.
So What?
The signature lick of this enduring jazz standard is the bass line around which the song is basically built. We follow the "cool" version of Miles Davis. This tune provides an opportunity for both our bass player and our drummer to stretch out and do some soloing.
Comin' Home Baby
Here is a tune which is close to a standard I-IV-V progression but has been made interesting by certain changes. First, it is in a minor key. While not that dramatic, the minor key has an interesting substitution of the IV chord, a #V9. But there is not only a substitution for the standard sub-dominate chord. For the dominant V chord, we find a nice, chromatically descending set of chords bIII, II, bII, I.. A nice final touch is the use of a V+9 as the final turnaround chord. This song is also remarkable in that the groove is created by play ahead of the beat.
My Mama Told Me So
This Crusaders tune has a number of interesting features, so much so that we have used this as an opening tune. A funky bass line kicks off the groove to be followed by the theme played in unison with the sax and the guitar. Also, the verse progression is not standard: I, bIV, V, I. The bridge is also interesting in that it modulates from Bb to B and has a clever way of returning to Bb. It short, it is a funky, harmonically interesting tune that features unison playing.
Deep Into It
Here is another Larry Carlton song that characteristically delivers a good deal of sophistication. Here it is not so much the song structure, although there is a nice uncharacteristic introduction both at the beginning and before the guitar solo. Rather, what makes this tune of interest is the interaction of the guitar and the sax. During the verse, the guitar takes the lead while the sax offers embellishing riffs. The relationship is then reversed for the bridge. The end result is a very rich texturing of the melody line.
Refried
From the days of Tom Scott and the LA Express with Robben Ford comes this laid-back, medium groove. It features some unison sax and guitar work and offers a mildly funky bridge to offset the somewhat relaxed feel of the verse.
Hideaway
Here is another basic Blues progression that is saved from mediocrity by the incorporation of several "breaks." Written by the famous Freddy King, Eric Clapton and John Mayall covered the tune and enhanced it significantly. For most of the tune, we follow Clapton's version fairly closely. After all, it comes from the days when he was referred to as "God." It is a fun tune to play.
It's a Groove Thang
Here is another Larry Carlton tune that combines a very cool laid-back groove with considerable taste and sophistication. Again, he features a sax with which he plays a good deal of unison as well as playing off of it. The chord changes are jazzy and the tune is peppered with several tasty guitar licks. And did I mention the bass work?
Hamp's Hump
This tune seems to have been design to produce one thing--maximum funkiness. Consequently, the tune leaves a lot of space for the bass and the drums playing together alone. Also, the tune has a very raw feel throughout with a greasy organ part and a biting guitar. With this tune we let it all hang out.
For Love Alone
By contrast, this fusion ballad by the Crusaders is intended to be both intense and beautiful. With this tune we have a successful combination of expressive chords supporting soaring guitar, sustained lines.
Put It Where You Want
With this song, the Crusaders offer a raucous, sustained, driving groove. It is a good tune to feature our keyboard player and has served us well as a closing tune.
Take That
Lee Ritenour and Larry Carlton teamed up to record this aggressive, wailing tune. Things stay interesting with numerous modulations and variations of a thematic riff.
Nite Crawler
This Larry Carlton tune has a lot going on, not of least is the presence of guitar harmonies (We use a horn for the second part.). Here one finds more song sections than usual as well as some interesting breaks. Also characteristic of Larry's composition is the tightness of the various parts. But space does not permit me to go into what are the various instruments are doing. Suffice to say that these tunes are highly integrated.
Guitar Gods
Except for its slightly quick tempo, this Carlton tune might qualify as a fusion ballad. It is characterized by chords reminiscent of pop tunes with the melody played by sustained guitar lines. It conveys a very nice mood.
Revelation
Russell Ferrante and Robben Ford teamed up to produce this truly regal and impressive song. The chords, the melody, the performances, all truly first rate and quite inspiring. This tune holds a prominent place in our set list.
Passion
This is another fusion ballad from the Hellecasters, or more specifically John Jorgensen. Fusion ballads like this one provide us with an opportunity to show that we can play aesthetically pleasing tunes rather than playing music that is based mostly upon raw energy. With such songs we try to explore such lofty matters like refinement, subtlety, mood and taste.
Fatback
This Lee Ritenour tune has almost a clever logic to it. The first and second parst of the verse play off against one another with the first part vamping a IIvm-V while the second moves from I-IV. One could descibe it as a easy funk, augmented by some funky horn lines. Things are made more interesting by some clever intro and outro parts as well as by a bridge over which the keyboards and the guitar solo.
Cause We've Ended as Lovers
This Jeff Beck performance, written by Stevie Wonder, is perhaps his most best known instrumental tune. Together, they supply the basic ingredients for a fusion ballad. The chord changes almost have a pop character to them over which Beck supplies his characteristic flashy yet nuanced, rock melodies. Beck's tasty bends give the tune a feeling of longing, a tension that is resolved in hia aggressive solo work.
The Work Song
We take our version from Robben and Mark Ford's tribute to Paul Butterfield. Our version feature some unison playing of the tune's catchy head. This fairly quick tune is moved along by a driving, walking bass line played under a minor progression with a IV9-#IV9, IV9, Im turnaround.
Farm Jazz
This Carlton tune, like its name, is characterized by its unusualness. For one thing, the verse melody is not played by the guitar but rather by the keyboard, with the guitar vamping behind it. Also, the I-Vim chord changes give it something of a pop feel as does the melody line. This somewhat commercial feel to the tune makes for some interesting changes over which to solo.
Hip Hug Her
Booker T. and MGs even received some radio airplay with this one. It is funky and it features the organ playing the head. But I suspect that the tune was also popular because of Steve Cropper's very tight and very funky guitar work. It is also one of those tunes where a straight I-IV-V turnaround is made interesting by some inventive, alternative changes, in this case being V-bIII,-IV-V.
Tom Cat
While Tom Scott used a harmonica to play the lead lines, we substitute a horn played in the higher registers. This tune is characterized by a funky verse groove that is offset by a lyrical bridge. It also features some soulful guitar work between the verses with some unison sax and guitar.
The Supernatural
This Peter Green tune, backed by John Mayall and the Bluesbreakers, is best described as ethereal and so suits its name. The tune has something of a history inasmuch it stands behind Peter Green's Black Magic Women which Santana made even more popular. This tune also has a clever quality about it as Peter begins each verse with a note that feedbacks over four measures. So while the band plays Im-Im-bVII-bVI-Im, he plays four different feedback notes from a Dm7 arpeggio (F, A, C, D). The drummer's use of mallets creates a feeling of eeriness.
Let Them Play the Blues
This original tunes is an easy-going blues shuffle that features melody lines constructed in thirds. Interest is added by modulating up a minor third for the solo. The title alludes to a retreat into music.
Reflection of a Guitar Player
This Ritenour-Carlton song is perhaps the most unusual of our tunes. The theme plays against a chord progression that offsets a minor third and a major third. The tune also features some usual breaks. Through it all, two guitarists are playing in octaves for the most part. The tune succeeds in conveying a feeling of introspection as the song title suggests. A very moody and unusual piece.
Shake It
This Rick Holmstroma tune is rauchy and fun to play Almost a I-IV-V is still refuses to go the IV and instead pounds the groove on the I. It also features the big B-3, greasy organ sound to drive home the groove.
Dirty Old Man
From Tom Scott and the LA Express we have a tune that combines a funky groove, unison playing of guitar and sax and some nice, quick, syncopated lines.
The Stumble
This is a famous Blues instrumental among Blues guitarists. The great Peter Green covered the tune with John Mayall and the Bluesbreakers. What sets this Blues tune apart is its interesting chord progression, especially in the breaks. After moving from an IV to a I progession, the tune then offers four stops at I, I7, IV, #IVdim(!). What makes these stops particularly slick is the movement of a smooth ascending bass line E, G#, A, A#. Also, the progression ends with the somewhat unusual (at least for the Blues) progression of I, V, II, V, I, V.
Roll With It
This song is all about groove. This comes through quite clearly in Steve Winwood's original performance. But we have taken up Larry Carlton's version in which he ingeniously augments the groove by laying it back . . . way back. Adding to this, Larry's arrangement features some very tasty embellished chords and of course his matchless guitar work. A very slick tune.
All Blues
Larry Carlton and Steve Lukather offer dueling guitars on this remake of a jazz standard. The song vacillates between soft tasty licks to the very powerful, rock-like articulation of the song's theme.
Europa
This Latin-based instrumental is probably among the most popular rock instrumentals of all time. The repeated ascending and descending melody line plays nicely against some compelling, symmetrical, chord changes. But in the end, the tune is really all about passion.
Club 1509
I find myself liking almost everything I hear from the soulful and inventive sax player, Gerald Albright. What is especially attractive about this tune is its deep funkiness. Accordingly, the tune features some down bass work with some key fills. The down and dirty funky groove that characterizes most of the song is set off nicely by a highly melodic bridge, providing just the right needed contrast.
So What?
The signature lick of this enduring jazz standard is the bass line around which the song is basically built. We follow the "cool" version of Miles Davis. This tune provides an opportunity for both our bass player and our drummer to stretch out and do some soloing.
Comin' Home Baby
Here is a tune which is close to a standard I-IV-V progression but has been made interesting by certain changes. First, it is in a minor key. While not that dramatic, the minor key has an interesting substitution of the IV chord, a #V9. But there is not only a substitution for the standard sub-dominate chord. For the dominant V chord, we find a nice, chromatically descending set of chords bIII, II, bII, I.. A nice final touch is the use of a V+9 as the final turnaround chord. This song is also remarkable in that the groove is created by play ahead of the beat.
My Mama Told Me So
This Crusaders tune has a number of interesting features, so much so that we have used this as an opening tune. A funky bass line kicks off the groove to be followed by the theme played in unison with the sax and the guitar. Also, the verse progression is not standard: I, bIV, V, I. The bridge is also interesting in that it modulates from Bb to B and has a clever way of returning to Bb. It short, it is a funky, harmonically interesting tune that features unison playing.
Deep Into It
Here is another Larry Carlton song that characteristically delivers a good deal of sophistication. Here it is not so much the song structure, although there is a nice uncharacteristic introduction both at the beginning and before the guitar solo. Rather, what makes this tune of interest is the interaction of the guitar and the sax. During the verse, the guitar takes the lead while the sax offers embellishing riffs. The relationship is then reversed for the bridge. The end result is a very rich texturing of the melody line.
Refried
From the days of Tom Scott and the LA Express with Robben Ford comes this laid-back, medium groove. It features some unison sax and guitar work and offers a mildly funky bridge to offset the somewhat relaxed feel of the verse.
Hideaway
Here is another basic Blues progression that is saved from mediocrity by the incorporation of several "breaks." Written by the famous Freddy King, Eric Clapton and John Mayall covered the tune and enhanced it significantly. For most of the tune, we follow Clapton's version fairly closely. After all, it comes from the days when he was referred to as "God." It is a fun tune to play.
It's a Groove Thang
Here is another Larry Carlton tune that combines a very cool laid-back groove with considerable taste and sophistication. Again, he features a sax with which he plays a good deal of unison as well as playing off of it. The chord changes are jazzy and the tune is peppered with several tasty guitar licks. And did I mention the bass work?
Hamp's Hump
This tune seems to have been design to produce one thing--maximum funkiness. Consequently, the tune leaves a lot of space for the bass and the drums playing together alone. Also, the tune has a very raw feel throughout with a greasy organ part and a biting guitar. With this tune we let it all hang out.
For Love Alone
By contrast, this fusion ballad by the Crusaders is intended to be both intense and beautiful. With this tune we have a successful combination of expressive chords supporting soaring guitar, sustained lines.
Put It Where You Want
With this song, the Crusaders offer a raucous, sustained, driving groove. It is a good tune to feature our keyboard player and has served us well as a closing tune.
Take That
Lee Ritenour and Larry Carlton teamed up to record this aggressive, wailing tune. Things stay interesting with numerous modulations and variations of a thematic riff.
Nite Crawler
This Larry Carlton tune has a lot going on, not of least is the presence of guitar harmonies (We use a horn for the second part.). Here one finds more song sections than usual as well as some interesting breaks. Also characteristic of Larry's composition is the tightness of the various parts. But space does not permit me to go into what are the various instruments are doing. Suffice to say that these tunes are highly integrated.
Guitar Gods
Except for its slightly quick tempo, this Carlton tune might qualify as a fusion ballad. It is characterized by chords reminiscent of pop tunes with the melody played by sustained guitar lines. It conveys a very nice mood.
Revelation
Russell Ferrante and Robben Ford teamed up to produce this truly regal and impressive song. The chords, the melody, the performances, all truly first rate and quite inspiring. This tune holds a prominent place in our set list.
Passion
This is another fusion ballad from the Hellecasters, or more specifically John Jorgensen. Fusion ballads like this one provide us with an opportunity to show that we can play aesthetically pleasing tunes rather than playing music that is based mostly upon raw energy. With such songs we try to explore such lofty matters like refinement, subtlety, mood and taste.
Fatback
This Lee Ritenour tune has almost a clever logic to it. The first and second parst of the verse play off against one another with the first part vamping a IIvm-V while the second moves from I-IV. One could descibe it as a easy funk, augmented by some funky horn lines. Things are made more interesting by some clever intro and outro parts as well as by a bridge over which the keyboards and the guitar solo.
Cause We've Ended as Lovers
This Jeff Beck performance, written by Stevie Wonder, is perhaps his most best known instrumental tune. Together, they supply the basic ingredients for a fusion ballad. The chord changes almost have a pop character to them over which Beck supplies his characteristic flashy yet nuanced, rock melodies. Beck's tasty bends give the tune a feeling of longing, a tension that is resolved in hia aggressive solo work.
The Work Song
We take our version from Robben and Mark Ford's tribute to Paul Butterfield. Our version feature some unison playing of the tune's catchy head. This fairly quick tune is moved along by a driving, walking bass line played under a minor progression with a IV9-#IV9, IV9, Im turnaround.
Farm Jazz
This Carlton tune, like its name, is characterized by its unusualness. For one thing, the verse melody is not played by the guitar but rather by the keyboard, with the guitar vamping behind it. Also, the I-Vim chord changes give it something of a pop feel as does the melody line. This somewhat commercial feel to the tune makes for some interesting changes over which to solo.
Hip Hug Her
Booker T. and MGs even received some radio airplay with this one. It is funky and it features the organ playing the head. But I suspect that the tune was also popular because of Steve Cropper's very tight and very funky guitar work. It is also one of those tunes where a straight I-IV-V turnaround is made interesting by some inventive, alternative changes, in this case being V-bIII,-IV-V.
Tom Cat
While Tom Scott used a harmonica to play the lead lines, we substitute a horn played in the higher registers. This tune is characterized by a funky verse groove that is offset by a lyrical bridge. It also features some soulful guitar work between the verses with some unison sax and guitar.
The Supernatural
This Peter Green tune, backed by John Mayall and the Bluesbreakers, is best described as ethereal and so suits its name. The tune has something of a history inasmuch it stands behind Peter Green's Black Magic Women which Santana made even more popular. This tune also has a clever quality about it as Peter begins each verse with a note that feedbacks over four measures. So while the band plays Im-Im-bVII-bVI-Im, he plays four different feedback notes from a Dm7 arpeggio (F, A, C, D). The drummer's use of mallets creates a feeling of eeriness.
Let Them Play the Blues
This original tunes is an easy-going blues shuffle that features melody lines constructed in thirds. Interest is added by modulating up a minor third for the solo. The title alludes to a retreat into music.
Reflection of a Guitar Player
This Ritenour-Carlton song is perhaps the most unusual of our tunes. The theme plays against a chord progression that offsets a minor third and a major third. The tune also features some usual breaks. Through it all, two guitarists are playing in octaves for the most part. The tune succeeds in conveying a feeling of introspection as the song title suggests. A very moody and unusual piece.
Shake It
This Rick Holmstroma tune is rauchy and fun to play Almost a I-IV-V is still refuses to go the IV and instead pounds the groove on the I. It also features the big B-3, greasy organ sound to drive home the groove.
Dirty Old Man
From Tom Scott and the LA Express we have a tune that combines a funky groove, unison playing of guitar and sax and some nice, quick, syncopated lines.
The Messiah Will Come Again
A rare expression of religious faith by a famous musician. Both the chord structure and the guitar melody lines contribute to a strong sense of brooding as our guitarist waits in a "sad little town," the world, for the Messiah to return. Also noteworthy is the fine tone of Roy's Telecaster which his style of playing reinforces.
